PART  1. 


COLLECTION  OF  THE  LATE  FREDERIC  MAY 


RARE  AND  VALUABLE 

JAPANESE  COLOR  PRINTS 


TO  BE  SOLD  BY  DIRECTION  OF  THE  EXECUTOR 

AT  THE  AMERICAN  ART  GALLERIES 


MADISON  SQUARE  SOUTH 
NEW  YORK 


ON  FREE  PUBLIC  VIEW 

9  A.M.  UNTIL  6  P.M. 

AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH,  NEW  YORK 

FROM  THURSDAY,  MAY  2nd,  1918 

UNTIL  THE  DATE  OF  SALE,  INCLUSIVE 


A  VERY  IMPORTANT  COLLECTION 

OF 

RARE  AND  VALUABLE 

JAPANESE  COLOR  PRINTS 


TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  SALE 

BY  DIRECTION  OF  EXECUTOR 

ON  THE  EVENINGS  OF 

MAY  6th,  7th,  8th,  9th  AND  10th 

AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH 
BEGINNING  EACH  EVENING  AT  8.15  O’CLOCK 


Digitized  by  the  Internet  Archive 
in  2020  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/rarevaluablejapaOOamer 


PART  I.  JAPANESE  COLOR  PRINTS 


ILLUSTRATED  CATALOGUE 

OF 

A  VERY  IMPORTANT  COLLECTION 

OF 

RARE  AND  VALUABLE 

JAPANESE  COLOR  PRINTS 

FORMED  BY  THE  WIDELY  KNOWN  CONNOISSEUR 

THE  LATE 

FREDERIC  MAY 

OF  WASHINGTON,  D.  C. 


TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  SALE 

BY  DIRECTION  OF  EUGENE  GOFF,  Esq.,  EXECUTOR 

AT  THE  AMERICAN  ART  GALLERIES 

ON  THE  EVENINGS  HEREIN  STATED 


CATALOGUE  BY  MR.  FREDERICK  W.  GOOKIN 


l 


A 

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€  C  l 


THE  SALE  WILL  BE  CONDUCTED  BY 


MR.  THOMAS  E.  KIRBY 


AND  HIS  ASSISTANT,  MR.  O.  BERNET,  OF  THE 

AMERICAN  ART  ASSOCIATION,  MANAGERS 

NEW  YORK 
1918 


WILSVIOT  R.  EVANS,  Jr. 

35  CONGRESS  STREET, 
BOSTON 


THE  AMERICAN  ART  ASSOCIATION 
DESIGNS  ITS  CATALOGUES  AND  DIRECTS 
ALL  DETAILS  OF  ILLUSTRATION 
TEXT  AND  TYPOGRAPHY 


*'iwjp  /»rTTV  nrernuMi 


FOREWORD 


Frederic  May  was  a  lover  of  beautiful  things;  yet  only  a  few  of 
his  close  friends  were  aware  of  the  extent  and  quality  of  the  treasures 
that  he  had  gathered.  These  treasures  were  his  constant  solace  and 
delight.  He  lived  with  them  in  an  intimate  daily  association  and  it  was 
his  wish  that  after  he  had  done  with  them,  they  should  pass  into  the 
hands  of  other  collectors  who  might  derive  like  joy  from  their  pos¬ 
session. 

Mr.  May  was  particularly  fond  of  his  Japanese  prints,  and 
he  succeeded  in  getting  together  a  very  fine  lot  of  them.  Although  he 
entered  the  field  rather  late  to  secure  some  of  the  greatest  rarities, 
and  in  filling  sets  had  sometimes  to  be  content  with  impressions  which 
he  hoped  to  replace,  most  of  his  purchases,  especially  the  later  ones, 
were  made  with  excellent  judgment.  Taken  as  a  whole,  his  print 
collection  is  distinguished  by  an  average  high  quality.  The  collection 
includes  notable  prints  by  all  the  leading  Ukiyoe  artists,  save  Sharaku. 
The  prints  by  the  so-called  “primitive”’  artists  are  not  many  in  num¬ 
ber,  but  are  very  choice.  Among  them  are  two  fine  examples  of  the 
work  of  Kondo  Ivivoharu,  and  a  distinguished  pillar  print  by  Kiyo- 
mitsu,  “Girl  Catching  Fireflies.”  There  is  an  especially  fine  group 
of  prints  by  Harunobu,  among  which  the  “Football  Player,”  a  pillar 
print,  “A  Breezy  Day  by  the  Sea”  and  “The  Marriage  Ceremonies” 
set  call  for  particular  mention.  Koryusai,  Shigemasa,  Kivonaga, 
iShuncho,  Shunsho,  Shunko,  Shunyei,  Toyokuni,  Toyohiro,  Utamaro, 
Hokusai,  Hiroshige,  Iveisai  Eisen  and  others  are  all  represented  by 
notable  works.  It  is  not  possible  in  this  brief  foreword  to  specify  all 
of  the  finer  prints,  but  attention  should  be  drawn  to  two  important 
triptychs  by  Kivonaga  which  are  in  the  class  known  to  collectors  as 
“prizes” ;  to  Kitao  Masanobu’s  “Celebrated  Women  of  the  Green¬ 
houses  and  Poems  written  by  Them” — seven  superb  double-page  prints 
in  a  folding  album;  to  an  unusual  number  of  triptychs  by  Hiroshige; 
to  the  fine  impression  of  Hiroshige’s  “Bow-shaped  Moon” ;  to  the  choice 


lot  of  “Flower  and  Bird”  subjects  bv  that  master;  and  to  the  very 
beautiful  and  extremely  rare  “Chi-e  no  Ume”  series  of  prints  by 
Hokusai. 

Mr.  May  gathered  also  a  number  of  Japanese  illustrated  books. 
Among  these  is  a  group  (Lots  1252-3-4-5)  by  Utamaro,  which  can¬ 
not  be  passed  by  without  special  mention,  since  these  books  added 
greatly  to  Utamaro’s  fame  and  the  prints  that  the3r  contain  take 
rank  with  bis  most  exquisite  works. 

Frederick  W.  Gookix. 


CONDITIONS  OF  SALE 


1.  Any  bid  which  i.s  merely  a  nominal  or  fractional  advance  may 
be  rejected  by  the  auctioneer,  if,  in  his  judgment,  such  bid  would  be 
likely  to  affect  the  sale  injuriously. 

2.  The  highest  bidder  shall  be  the  buyer,  and  if  any  dispute  arise 
between  two  or  more  bidders,  the  auctioneer  shall  either  decide  the  same 
or  put  up  for  re-sale  the  lot  so  in  dispute. 

3.  Payment  shall  be  made  of  all  or  such  part  of  the  purchase 
money  as  may  be  required,  and  the  names  and  addresses  of  the  pur¬ 
chasers  shall  be  given  immediately  on  the  sale  of  every  lot,  in  default 
of  which  the  lot  so  purchased  shall  be  immediately  put  up  again  and 
re-sold. 

Payment  of  that  part  of  the  purchase  money  not  made  at  the 
time  of  sale  shall  be  made  within  ten  days  thereafter,  in  default  of 
which  the  undersigned  may  either  continue  to  hold  the  lots  at  the 
risk  of  the  purchaser  and  take  such  action  as  may  be  necessary  for 
the  enforcement  of  the  sale,  or  may  at  public  or  private  sale,  and 
without  other  than  this  notice,  re-sell  the  lots  for  the  benefit  of  such 
purchaser,  and  the  deficiency  (if  any)  arising  from  such  re-sale  shall 
be  a  charge  against  such  purchaser. 

4.  Delivery  of  any  purchase  will  be  made  only  upon  payment 
of  the  total  amount  due  for  all  purchases  at  the  sale. 

Deliveries  will  be  made  on  sales  days  between  the  hours  of  9 
A.  M.  and  1  P.  M.,  and  on  other  days — except  holidays — between  the 
hours  of  9  A.  M.  and  5  P.  M. 

Delivery  of  any  purchase  will  be  made  only  at  the  American  Art 
Galleries,  or  other  place  of  sale,  as  the  case  may  be,  and  only  on  pre¬ 
senting  the  bill  of  purchase. 

Delivery  may  be  made,  at  the  discretion  of  the  Association,  of 
any  purchase  during  the  session  of  the  sale  at  which  it  was  sold. 

5.  Shipping,  boxing  or  wrapping  of  purchases  is  a  business  in 
which  the  Association  is  in  no  wise  engaged,  and  will  not  be  performed 


bj  the  Association  for  purchasers.  The  Association  will,  however, 
afford  to  purchasers  every  facility  for  employing  at  current  and 
reasonable  rates  carriers  and  packers ;  doing  so,  however,  without  any 
assumption  of  responsibility  on  its  part  for  the  acts  and  charges  of 
the  parties  engaged  for  such  service. 

6.  Storage  of  any  purchase  shall  be  at  the  sole  risk  of  the  pur¬ 
chaser.  Title  passes  upon  the  fall  of  the  auctioneer’s  hammer,  and 
thereafter,  while  the  Association  will  exercise  due  caution  in  caring 
for  and  delivering  such  purchase,  it  will  not  hold  itself  responsible  if 
such  purchase  be  lost,  stolen,  damaged  or  destro3red. 

Storage  charges  will  be  made  upon  all  purchases  not  removed 
within  ten  days  from  the  date  of  the  sale  thereof. 

7.  Guarantee  is  not  made  either  by  the  owner  or  the  Association 
of  the  correctness  of  the  description,  genuineness  or  authenticity  of  any 
lot,  and  no  sale  will  be  set  aside  on  account  of  any  incorrectness, 
error  of  cataloguing,  or  any  imperfection  not  noted.  Every  lot  is 
on  public  exhibition  one  or  more  days  prior  to  its  sale,  after  which 
it  is  sold  “as  is”  and  without  recourse. 

The  Association  exercises  great  care  to  catalogue  every  lot  cor¬ 
rectly,  and  will  give  consideration  to  the  opinion  of  any  trustworthy 
expert  to  the  effect  that  any  lot  has  been  incorrectly  catalogued,  and, 
in  its  judgment,  may  either  sell  the  lot  as  catalogued  or  make  mention 
of  the  opinion  of  such  expert,  who  thereby  would  become  responsible 
for  such  damage  as  might  result  were  his  opinion  without  proper 
foundation. 


AMERICAN  ART  ASSOCIATION, 

American  Art  Galleries, 
Madison  Square  South, 

New  York  City. 


CATALOGUE 


FORMATS 


Japanese  words  for  which  there  are  no  English  equivalents  fur¬ 
nish  the  most  convenient  way  of  designating  the  size  of  the  prints. 

Hashira-e  (pillar  print).  Vertical  format;  height,  about  27  inches; 
width,  from  4  to  5  inches. 

Wide  Hashira-e.  Vertical  format:  Height,  about  28  inches;  width, 
about  9  inches. 

Ivakemono-e.  Vertical  format:  Height,  22  to  27  inches;  width,  about 
12  inches. 

Makimono-e.  Horizontal  format:  Height,  about  12  inches;  length, 
about  27  inches. 

Oban.  Vertical  format:  Height,  about  15  inches;  width,  about  10 
inches. 

Yoko-e.  Horizontal  format:  Height,  about  10  inches;  width,  about 
15  inches. 

Chuban.  Vertical  format:  Height,  about  11  inches;  width,  about 
8  inches. 

Koban.  Vertical  format:  Smaller  than  Chuban. 

H  oso-e.  Vertical  format:  Height,  about  12  inches;  width,  about 
0  inches. 


SIGNATURES 


Ga.  This  term,  the  equivalent  of  vegaku,  signifies  “drawn  by.” 
Hitsu.  Brush.  The  alternative  pronunciation  “fude”  is  not  used  for 
Ukiyo-e  works. 


THE  AMERICAN  ART  ASSOCIATION 

MANAGERS 

SALE  AT  THE  AMERICAN  ART  GALLERIES 
THE  LATE  FREDERIC  MAY  COLLECTION 

Afternoons  of  May  6  to  9  and 
Evenings  of  May  6  to  10,  1918 


To  save  time  and  to  prevent  mistakes  each  Purchaser 
will  oblige  the  Managers  by  filling  in  this  slip  and  hand¬ 
ing  it  to  the  Record  Clerk  or  Sales  Attendant  on  making 
the  first  purchase. 

Purchaser's  Name _  _ 


Address  in  Full 


Amount  of  Deposit 


FIRST  EVENING  SESSION 


MONDAY,  MAY  6,  1918 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  8.1.5  (/CLOCK 


MORONOBU 

(B.  1625,  d.  1694) 

1.  STREET  SCENE  IN  THE  YOSH IWARA 

In  the  Tenna  Period,  immediately  preceding  the  Genroku. 
Guests  in  the  tea-houses  are  seen  dimly  through  the  cur¬ 
tains  of  bamboo  strips;  many  people  are  passing  along 
the  street  in  front. 

Yoko-e.  Ink  print  from  a  folding  album.  Not  signed.  These 
albums  -were  signed  only  at  the  end.  About  1685. 

A  good  example  of  Moronobu’s  style  in  compositions  of  this 
period. 


First  Evening 


TORII  KIYONOBU  I 

(B.  1664,  d.  1729) 


2.  SCENE  FROM  THE  DRAMA  “ONN A  KUDO  YOSO=OI  SOQA” 

Performer  at  the  Nakamura  theatre,  Edo,  first  month 
Hoei  2  (January  25  to  February  23,  1705,  of  our  calen¬ 
dar).  The  first  Nakamura  Shichisaburo,  one  of  the  most 
famous  actors  of  the  Genroku  period,  in  the  role  of  Soga 
no  Jur5:  Matsumoto  Tanizb  as  Oiso  no  Tora. 

Hosoe.  Sumi-e,  slightly  colored  by  hand.  Xot  signed.  1705. 


I  * 


3.  SCENE  FROM  A  DRAMA 

The  first  Bando  Hikosaburo  as  the  famous  archer  Tawara 
Toda,  seated  near  a  house  by  the  sea,  and  turning  to  look 
up  at  a  woman  impersonated  by  Tsugawa  Ivamon  who 
stands  behind  him. 

Hosoe.  Urushi-e.  Signature  and  publisher s  mark  were  prob¬ 
ably  at  the  foot,  but  have  been  trimmed  off.  About  1725. 


sr° 

V  > 


4.  SCENE  FROM  A  DRAMA 

The  second  Ichikawa  Danjuro  as  Soga  no  Gor5;  the 
second  Nakajima  Kanzaemon  as  (?)  Fuwa  Banzaemon. 
Hosoe.  Urushi-e.  Signed:  Torii  Kiyonobu  hitsu.  Publisher: 
Okumura.  About  1726. 


TORII  KIYOMASU 

(B.  1702  (?),  d.  1763) 


First  Evening 


5.  AN  ACTOR  OF  THE  ICHIMURA  LINE 

As  an  oharami  leading  a  carabao  laden  with  bundles  of 
firewood. 

Hosoe.  Uruslii-e.  Signed :  Torii  Kiyomasu  hitsu. 


6.  SCENE  FROM  THE  DRAMA  “HOBASHIRA  TAIHEIKI” 

as  performed  at  the  Ichimura  theatre,  Edo,  first  month 
Gembun  1,  i.  e.  February  1736:  Ichikawa  Ebizo  (the  sec¬ 
ond  Danjuro)  as  Shinazuka  Goro;  the  first  Otani  Hiroji 
as  Nagasaki  Kageyuzaemon. 

Hosoe.  Urush-e.  Signed :  Torii  Kiyomasu  hitsu.  Publisher: 
Tsuru-ya.  1736. 


7.  ICHIMURA  KAMEZO  AS  ISE  NO  SABURO 

The  name  of  the  drama  has  not  been  learned. 

Hosoe.  Bcni-e.  Signed :  Torii  Kiyomasu  hitsu.  Publisher: 
Iga-ya.  About  1748. 


First  Evening 


8.  SCENE  FROM  A  DRAMA 

Ichimura  Kamezo  as  Hirano-ja  Tokubei:  Arashi  Tomi- 
nosuke  as  Tenma-ya  Ohatsu. 

Hosoe.  Beni-e.  Signed :  Torii  Kiyomasu  hitsu.  Publisher: 
Iga-ya.  About  1748. 

Fine  impression,  but  colors  much  faded. 


9 


12 


9.  SCENE  FROM  THE  DRAMA 

“H ATSU=TORA  KURAMA  GENJI” 

Ichimura  theatre,  Edo,  first  month  Kwan-en  2,  i.  e.  Febru¬ 
ary  1749.  Onoe  Ivikugoro  as  Goyd-no-mae,  wife  of  Suzuki; 
the  first  Sanogawa  Ichimatsu  as  Ushiwaka. 

Hosoe.  Beni-e.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Maru-ya.  1749. 

10.  SCENE  FROM  A  DRAMA 

Ichikawa  Ebizd  (the  second  Danjuro)  as  Ivajiwara  Kage- 
toki :  the  second  Nakamura  Denkuro  as  Mongaku. 

Hosoe.  Beni-e.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
M aru-ya.  A  bout  1 75 1  (  ?  ) 


First  Evening 


OKUMURA  MASANOBU 

(B.  about  1685,  d.  1768) 

11.  THE  FASCINATION  OF  BEAUTY 

A  cooper  engaged  in  repairing  a  cistern  on  the  roof  of 
a  house  is  so  overcome  by  the  charm  of  a  woman  washing 
clothes  in  the  yard  of  the  adjoining  house  that  lie  has  lost 
his  balance  and  is  falling  down  and  over  a  wall  to  land 
by  her  side.  Picture  No.  5  from  an  orihon  (folding  al¬ 
bum). 

Yoko-e.  Ink  print ,  colored  by  hand.  About  1705. 

I?i  very  good  condition. 

12.  SANJO  KANTARO  AS  OSOME; 

ICHIKAWA  KANNOSUKE  AS  HISAMATSU 

This  print  is  a  re-engraving  of  one  by  Masanobu  repre¬ 
senting  the  first  Segawa  Kikunojo  as  Osome  and  Sode- 
saki  Kikutaro  as  Hisamatsu  (Buckingham  Collection).  The 
only  differences  aside  from  the  coloring,  which  in  both 
was  done  by  hand,  is  that  the  faces  of  the  actors  have 
been  redrawn  and  the  mon  of  the  later  men  substituted  for 
those  appearing  in  the  earlier  print  which  was  probably 
issued  not  long  after  Kikunojo  came  to  Edo  in  1730.  This 
print  is  perhaps  a  year  or  two  later.  Whether  Masanobu 
had  anything  to  do  with  this  one  is  an  interesting  ques¬ 
tion. 

Hosoe.  Urushi-e.  Xot  signed. 

( Illustrated ) 

13.  FUQA  ONN A  SHUTENDOJI 

“A  Female  Shutendoji.”  A  parody  of  the  legend  of  the 
“Great  Drunkard  Boy”  or  demon  robber  who  lived  in  a 
fortified  dwelling  in  Oevama  and  terrorized  the  surround- 
ing  country  until  Yorimitsu,  otherwise  known  as  Raiko, 
and  his  retainers  visited  him  in  his  stronghold  and  put 
him  to  death.  Here  they  are  shown  seated  in  the  house 
of  the  demon,  who  is  depicted  as  a  woman  with  women 
attendants. 

Yoko-e.  Hand-colored  perspective  picture.  Signed :  Okumura 

Masanobu.  Ukiye  ne  moto.  “ Originator  of  the  perspective 

picture.”  Published  by  the  artist.  About  1745. 


First  Evening 


OKUMURA  TOSHINOBU 

(Worked  c.  1725-1742) 


14.  OSOME  AND  HISAMATSU 

The  love  affair  of  Osome  and  Hisamatsu,  the  clerk  in 
her  father’s  oil  shop,  is  a  familiar  one  in  Japan  and  has 
often  been  dramatized.  Apparently,  though  not  certainly, 
this  print  represents  a  scene  from  a  drama  with  Arashi 
Wakano  as  Osome,  and  Takeshima  Kozaemon  as  Hisa¬ 
matsu.  The  mon  of  both  actors  appear  on  a  fan  form¬ 
ing  part  of  the  decoration  of  the  youth’s  garments. 

This  is  not  the  only  puzzle  that  the  print  presents.  One 
of  the  oil  merchant’s  books  of  account  hung  up  in  the 
shop  is  dated  “Hdei  shield,  sho  gatsu,  kichi  hi,” — the  sev¬ 
enth  year  of  Hdei,  first  month,  lucky  day,  i.  e.  New  Year’s, 
or  according  to  our  calendar,  January  30,  1710.  If  this 
is  a  haphazard  date  it  has  no  significance.  But  if  it  is 


First  Evening 


[No.  14 — Continued ] 

the  date  when  the  print  Avas  designed  the  case  is  very 
different.  So  far  as  known  Toshinobu  did  not  work  at 
that  date.  He  could  not  then  have  been  more  than  a  young- 
child  if  in  fact  he  was  the  son  of  Okumura  Masanobu,  and 
Masanobu  was  born  in  1685.  The  coloring  of  the  print 
is  in  a  style  that  was  in  vogue  from  about  1725  for  at 
least  a  decade.  How  much  earlier  it  came  into  use  is  not 
yet  known. 

Hosoe.  Urushi-e.  Signed:  Yamato  Ga-ko  ( Japanese  artist) 
Okumura  Toshinobu  hitsu.  Publisher:  Emi-ya. 

( Illustrated ) 


15.  SCENE  FROM  A  DRAMA 

The  first  Ichikawa  Danzo  as  a  man  seated  with  arms 
folded  at  the  foot  of  a  flight  of  stairs,  and  turning  to 
look  up  at  a  woman  impersonated  by  Fujimura  Handavu 
who  stands  behind  him.  The  drama  has  not  been  identi¬ 
fied,  but  the  date  is  between  December,  1715,  when  Danzo 
placed  the  character  “ichi”  across  his  mon,  and  the 
spring  of  1727,  when  the  “Kabuki  Nandaiki”  chronicle 
of  the  Edo  stage  begins. 

Hosoe .  Urushi-e.  Signed:  Okumura  Toshinobu  liitsu.  Pub¬ 
lisher:  Izutsu-ya. 


16.  SCENE  FROM  A  DRAMA 

The  second  Ichikawa  Danjuro  as  a  man  standing  under 
a  wistaria  arbor  and  aiming  a  blow  with  one  of  his  san¬ 
dals  at  Soga  no  Juro,  impersonated  by  the  first  Ichikawa 
Monnosuke,  who  is  seated  on  the  ground  before  him. 
Hosoe.  Urushi-e.  Signed:  Yamato  Ga-ko  Okumura  Toshinobu 
hitsu.  Publisher:  Soshu-ya. 


G 


First  Evening 


KOXDO  KIYOHARU 

(Worked  c.  1715-1735) 


17.  THE  ACTOR  ONOGAWA  OR1YE 

IN  THE  ROLE  OF  ONN A  FUGEN 

^  Shown  seated  on  a  white  elephant  and  playing  a  samisen. 

*  Hosoe.  Urushi-e.  Signed-.  Ga-ko  ( artist )  Kondo  Kiyoharu 

hitsu.  About  1720. 

Kondo  Kiyoliaru  xcas  an  early  artist  whose  prints  are  ex¬ 
tremely  rare.  This  one  could  not  be  in  finer  condition. 


18.  THE  FIRST  ICHIKAWA  MONNOSUKE 

AS  A  WOMAN  FLOWER  VENDOR 

Monnosuke  was  a  good  but  not.  a  great  actor.  He  died 
in  1729. 

Hosoe.  Urushi-e.  Signed :  Ga-ko  Kondo  Kiyoharu  hitsu.  Pub¬ 
lisher:  Masu-ya.  About  1720. 


First  Evening 


NISHIKAWA  SUKENOBU 

(B.  1674,  d.  1754) 

19.  TWO  WOMEN  RECLINING  ON  THE  FLOOR 

OF  A  ROOM  AND  READING  A  BOOK 

The  room  is  open  toward  the  garden,  showing  the  engawa 
(veranda)  and  the  ehozu-bashi  or  cistern  holding  water 
for  washing  hands.  Picture  No.  7  from  a  folding  album. 

Yoko-e.  Not  signed. 

Good  impression  in  fine  condition.  Single  sheet  prints  by  Suke- 
nobu  are  extremely  rare. 

20.  (A)  GROUP  OF  FOUR  PEOPLE  IN  A  ROOM, 

one  of  them  a  girl  carrying  a  bird  cage. 

(B)  A  MAN  LYING  DOWN, 

pipe  in  hand,  and  a  woman  seated  beside  him. 

Two  small  ink  prints  from  books.  Unsigned.  About  1730. 

NISHIMURA  SHIGENAGA 

(B.  1697,  d.  1756) 

NANA  KOMACHI,  “SEVEN  IvOMACHI” 

Seven  famous  incidents  in  the  life  of  the  ninth  century  poetess, 
Ono  no  Ivomachi.  Three  prints  of  the  set. 

Hosoe.  Urushi-e.  Not  signed. 

21.  ARAI  KOMACHI 

“Praying  for  rain.”  It  is  related  that  in  866  A.D.,  at 
the  time  of  the  great  drought,  the  magic  of  her  verses 
brought  the  rain  that  prayers  had  failed  to  obtain. 

22.  YAYOI  KOMACHI 

“Visiting.”  Her  lover  Eukakusa  no  Shosho  calling  to 
press  his  suit  for  her  hand.  The  conditions  she  imposed 
are  said  to  have  caused  his  death. 

23.  SEKIDERA  KOMACHI 

“Pilgrimage  to  Seki  temple,”  undertaken  in  her  old  age. 


First  Evening 


24.  SAIGYO  HOSHI  CONTEMPLATING  FUJI 


Saigyo  was  a  Fujiwara  noble  of  the  twelfth  century  whose 
opposition  to  Yoritomo  caused  him  to  renounce  all  his 
dignities  and  become  a  travelling  Buddhist  priest. 

Hosoe.  Hand  colored  urushi-e.  Signed:  Nisliimura  Shigenaga. 
Publisher:  Maru-ya.  About  1725(F). 


25 


26 


25.  ARASHI  WAKANO  AS  A  WOMAN 

WALKING  IN  THE  SNOW 

She  carries  an  umbrella,  and  turns  to  look  at  a  gnarled 
plum  tree  in  bloom. 

Hosoe.  Urushi-e.  Signed:  Nihon  Ga-ko  ( Japanese  artist ) 
Nishi  mura  Shigenaga  hitsu.  Publisher:  lga-ya.  About  1725. 


First  Evening 


ISHIKAWA  TOYOYOBU 


(B.  1711,  d.  1785) 

26.  THE  LOVERS  OSOME  AND  HISAMATSU 

They  are  walking  together  under  an  umbrella  in  early 
spring.  A  plum  tree  in  full  bloom  at  the  left. 

Hosoe.  Beni-e.  Signed:  Ishikawa  Toyonobu  hitsu.  Publisher : 
Maru-ya.  About  1755. 

( Illustrated ) 


& 


TORII  KIYOMITSU 

(B.  1735,  d.  1785) 

27.  THE  FOURTH  ICHIKAWA  DANJURO  AS  MATSUO=MARU 

in  the  drama  “Sugawara,”  Nakamura  theatre,  eighth  ~ 

month  Horeki  6,  i.  e.  September,  1756. 

Hosoe.  Printed  in  beni,  blue,  olive-green  and  black.  Signed: 

Torii  Kiyomitsu  ga.  Publisher:  Mikawa-ya.  1756. 


28.  ICHIKAWA  RAIZO  AS 

MINAMOTO  NO  KURO  YOSHITSUNE 

Nakamura  theatre,  1761. 

Hosoe.  Signed  :  Torii  Kiyomitsu  ga.  Published  by  Murata-ya. 


29.  THE  SECOND  BANDO  HIKOSABURO 

This  actor  died  in  1768,  aged  27.  He  is  shown  against 
a  background  of  fog,  above  which  is  a  glimpse  of  the  roof 
of  the  Nakamura  theatre. 

Hosoe.  Printed  in  beni,  blue,  yellow,  and  black.  Signed:  Torii 
Kiyomitsu  ga.  Publisher:  Urukogata-ya.  About  1762. 


30.  THE  FIRST  ICHIKAWA  KOMAZO 

AS  SOGA  NO  JURO  SUKENARI 

in  “Hitoki-dori  Harutsuge  Soga,”  Nakamura  theatre, 
spring  of  Horeki  14,  i.  e.  1764. 

Hosoe.  Printed  in  beni,  blue,  yellow.  Signed:  Torii  Kiyomitsu 
ga.  Publisher:  Okumura  Masanobu. 

31.  THE  THIRD  MATSUMOTO  KOSHIRO 

This  actor  later  became  the  fifth  Ichikawa  Danjuro.  He 
is  shown  as  an  otokodate  standing  bv  a  tub  of  water  and 

O  %j 

buckets  for  use  in  case  of  fire. 

Hosoe.  Signed:  Torii  Kiyomitsu  ga.  About  1766. 


I* 


6  xX*~*s**~&‘ 


First  Evening 


32. 


<v 


GIRL  CATCHING  FIREFLIES 

Hashira-e.  Signed :  Torii  Kiyomitsu.  Pub¬ 
lisher:  M  a  mho.  About  1765. 

Superb  impression.  Very  fine  condition. 

TORII  KIYOHIRO 


/ 


(B.  — ,  d.  1776) 

33.  THE  FIRST  NAKAMURA  SUKEGORO 

A  noted  actor  of  the  second  quarter 
of  tlie  eighteenth  century  as  (?)  Omi 
\7  Kotoda  in  “Kiku  wa  Mukashi  Soga 

Monogatari,”  Ichimura  theatre, 
1746. 

H  osoe.  Beni-e.  Signed:  Torii  Kiyohiro 
hitsu.  Publisher:  Urukogata-ya. 

TORII  KIYOTSUNE 

(Worked  c.  1750-1770) 

34.  ONOE  KIKUGORO  AS  SHIGETADA; 
ICHIMURA  KAMEZO  AS  KEIJO  NO  JIRO 

Drama,  “Chushin  Iroha  Soga,”  Ichi- 
mura  tlieatre,  first  month  Horcki  3, 
^  i.  e.,  February,  1753. 

Hosoe.  Printed  in  beni,  taisha  ( Indian 
red),  green ,  and  black. 

Signed:  Torii  Kiyotsune.  Publisher:  Su¬ 
zuki.  1753. 

35.  SCENE  FROM  THE  SECOND  ACT  77f 

“EDO=MURASAKI  NEMOTO  SOGA” 

Ichimura  theatre,  spring  of  1761. 
The  second  Segawa  Ivikunojo  as 
Yaoya  Oshichi;  Ichimura  Ivichigoro 
as  Asahina.  The  play  was  a  curious 
medley  in  which  popular  characters 
from  other  plays  were  introduced. 
Danjuro  appeared  in  two  roles,  Kiku- 
nojo  in  four. 

Hosoe.  Printed  in  orange-tan,  beni,  green, 
and  black — an  unusual  combination. 
Signed:  Torii  Kiyotsune  ga.  Publisher: 
Yamashiro-ya.  1761. 


A 


0 


First  Evening 


36.  ICHIKAWA  RAIZO  AS  UMEOMARU 

In  “Sugawara  Donju  Tenarai  Kagami,”  Nakamura  thea¬ 
tre,  fifth  month,  Horeki  14,  i.  e.,  June,  1764. 

Hosoe.  Printed  in  beni,  blue,  yellow,  and  black.  Signed:  Torii 
Kiyotsune  ga.  Publisher:  Xishimi-ya.  1764. 

Fine  impression.  In  remarkable  preservation:  colors  as  when 
first  printed. 


SUZUKI  HARUNOBU 

(B.  about  1730,  d.  1770) 

37.  KAYOI  KOAIACHI 

A  young  woman,  a  modern  representative  of  Ono  No  Ko- 
machi,  standing  on  the  veranda  of  a  house.  Ode  above 
and  a  small  picture  of  the  real  Ivomachi.  Mizu-e  or  “water 
print.” 

Hoso-e.  Signed:  Harunobu  ga.  About  1764. 

Much  faded. 


\T  > 


First  Evening 


38.  THE  SECOND  SEGAWA  KIKUNOJO 

IN  THE  ROLE  OF  UMEGAE 

Ichimura  theatre,  Edo,  second  month  Horeki  14  (1764). 
Printed  in  beni,  blue,  yellow  and  black. 

Hoso-e.  Signed:  Suzuki  Harunobu  hitsu.  Published  by  Tsuru- 
sliin.  About  1764. 

39.  KASUI  NO  TSUKI 

Moonlight  on  the  lake.  A  modern  analogue  of  Murasaki 
Shikibu  writing  the  Genji  Monogatari  at  Ishiyama  dera 
>  \  on  Lake  Biwa. 

Hoso-e.  Signed:  Harunobu  ga.  About  1767. 

Fine  impression.  In  good  condition. 

WHITE  HERONS  AND  SNOW=LADEN 

BAMBOO  ON  A  RIVER  BANK 

Chuban.  Not  signed. 

Much  faded  and  in  poor  condition. 


40. 


0 


,  O, 

V 


41.  A  WOMAN  STANDING  IN  A  PARLOR 

One  end  of  her  partly  tied  obi  is  held  between  her  teeth 
y  while  she  turns  to  look  at  bush  clover  in  bloom  in  the 

garden.  Above  is  a  poem  by  Minamoto  Nobuaki  Ason. 
Chuban.  Signed:  Harunobu  ga.  About  1767. 

Not  in  very  good  condition. 


42.  THREE  GENERATIONS 


/ 


\ 


A  young  mother  seated  before  a  mirror,  combing  her  hair. 
Behind  her,  her  infant  son  is  held  in  the  arms  of  his  grand¬ 
mother.  One  of  a  Rok-ka-sen,  Six  Famous  Poets,  series. 
Ode  by  Otomo  no  Ivuronushi  printed  above.  From  the 
Blanchard  collection. 


Chuban.  Signed:  Harunobu  ga.  About  1767. 
In  remarkably  fine  condition. 


43.  SAIGYO  HOSHI  PRAYING  TO  A  BIJIN  FUGEN 

This  subject  is  an  Ukiyo-e  pleasantry,  a  Japanese  oiran 
being  substituted  for  the  Dhyani  Bodhisattva  Samanta- 
bhadra,  known  in  Japan  as  Fugen.  She  appears  to  the 
priest  in  a  vision,  seated  on  a  white  elephant. 

Chuban.  Signed:  Harunobu  ga.  About  1766. 


First  Evening 


44  45 

44.  GOING  TO  THE  PUBLIC  BATH  HOUSE 

Two  young  women  walking  under  a  yellow  umbrella  in  a 
storm  of  snow  and  rain. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1766. 

In  very  good  condition. 

45.  HANGING  THE  KAKEMONO 

A  young  woman  standing  in  a  parlor  before  the  tokonoma, 
preparing  to  hang  up  a  kakemono,  turns  to  look  at  a 
kitten  that  lias  caught  hold  of  her  obi. 

Chuban.  Not  signed.  About  1765. 

Fine  impression.  In  good  condition. 

46.  CHINESE  PAINTING  VERSUS  UKIYO=E 

A  Chinese  noble  standing  in  a  Chinese  boat,  holding  up  a 
painting  of  orchids,  and  a  Japanese  girl  in  a  Japanese 
boat  holding  up  a  pillar  print  by  Harunobu,  mounted  as 
a  kakemono.  Comic  ode  on  a  conventional  cloud  above. 

Chuban.  Signed:  Harunobu  ga.  About  1766. 

Good  impression.  In  excellent  condition. 


47.  AN  INTERRUPTED  PICNIC 


A 


V 


A  young  man  and  a  girl  at  a  picnic  under  a  cherry  tree 
caught  by  a  sudden  shower.  The  girl  hastily  throws  her 
long  sleeve  over  her  head  while  her  companion  opens  an 
umbrella. 

Chuban.  Signed :  Harunobu  g a.  About  1767. 

Fine  impression.  In  very  good  condition. 


48. 


THE  KAMURO’S  TOILET 

An  oiran  standing  in  a  room  engaged  in 
and  looking  down  at  her  kamuro  who  is 
haircomb  with  the  aid  of  a  mirror. 


tying  her  obi 
adjusting  her 


Cliuban.  Signed:  Harunobu  ga.  About  1767. 


49. 


C 


SA=WARABI 

A  young  samurai  standing  under  a  cherry  tree  and  ad¬ 
miring  the  blossoms.  He  holds  his  horse  by  the  bridle 
while  his  groom  respectfully  crouches  down  by  his  side. 
This  is  a  modern  version  of  the  Sa-warabi  incident  related 
in  the  Genji  Monogatari. 

Chuban.  Signed:  Suzuki  Harunobu  ga.  About  1766. 

Very  fine  impression.  In  perfect  condition. 


50.  WHISPERED  CONFIDENCE 

Two  girls  seated  on  the  engawa  of  a  house.  One  of  them 
is  whispering  in  the  ear  of  her  companion. 

Chuban.  Signed:  Harunobu  ga.  About  1768. 

Fine  impression.  In  good  condition. 


First  Evening 


51.  THE  PENSIVE  MAID 

Young  woman  seated  in  a  pensive  attitude  on  the  veranda 
of  Kiyomizu  temple,  in  Kyoto. 

Chub  an.  Not  signed.  About  1765. 

Fine  impression.  In  perfect  condition. 

52.  KOYA  NO  TAMAGAWA 

A  girl  seated  on  the  floor  of  a  room  with  a  picture  before 
her  of  the  so-called  Poisoned  Tama  river  in  the  province 
of  Kii,  which  is  reflected  in  a  diminishing  and  reversing 
mirror,  turns  from  it  to  listen  to  a  youth  dressed  almost 
like  a  woman,  who  stands  by  her  side.  One  of  a  Mu  Tama- 
gawa  series.  Title  and  poem  printed  above. 

Chub  an.  Signed:  Suzuki  Harunobu  ga.  About  1768. 

Late  impression.  Not  in  very  good  condition. 

53.  TSUBAKI.  CAMELLIA 

A  young  woman  seated  on  the  edge  of  a  veranda  is  placing 
a  red  petal  of  a  camellia  blossom  on  the  forehead  of  a 
young  boy  who  stands  by  her  side.  Within  the  house  at 
the  left  the  child’s  mother  is  combing  her  hair  before  a 
mirror. 

Chuban.  Signed :  Harunobu  g a.  About  1767. 


First  Evening 


0 


54.  THE  TREASURE  CHILD 

A  young  mother  dressed  in  summer  garments  of  gauze 
through  which  the  outlines  of  her  figure  appear,  holding  up 
her  infant  son  and  showing  him  to  a  girl  standing  before 
her. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1768. 

Fine  impression.  In  fair  condition. 


55.  NAKA  CHO  NO  YUTERU 


The  Evening  Glow  in  Naka  Street.  An  oiran  standing 
on  a  veranda  and  giving  instructions  to  her  kamuro.  Series : 
Furyu  Ukiyo  Hakkei.  Eight  stylish  Ukiyo-e  Views. 
Cliuban.  Signed:  Harunobu  ga.  About  1767. 


0 


o 


56.  THE  INQUISITIVE  KAMURO 

A  kamuro  seated  by  a  hibachi  reading  a  love  letter  ad¬ 
dressed  to  her  mistress  is  detected  by  the  latter,  and  also  by 
the  writer  of  the  letter  who  is  just  entering  the  room 
through  the  portiere. 

-'F  Chuban.  Signed  :  Harunobu  ga.  About  1767. 

Late  impression.  In  good  condition. 


First  Evening 


KIT  AO  SHIGEMASA 

(B.  1739,  d.  1819) 

57.  THE  WATER  WHEEL  AT  YODO  CASTLE 

A  boat  with  several  passengers  sailing  on  the  Yodo  river 
by  a  walled  bank  where  the  current  of  the  stream  is  turn¬ 
ing  a  great  undershot  water-wheel.  Mizu-e  or  “water- 
print”  in  beni,  buff,  blue,  and  pearl  gray. 

Hosoe.  Signed:  Kitao  Shigemasa  ga.  About  1764. 


58.  ONO  NO  TOFU  AND  THE  FROG 

The  noble  stands  under  an  umbrella  in  a  shower,  on  the 
bank  of  a  narrow  stream,  watching  a  frog  that  tried  a 
hundred  times  before  it  at  last  succeeded  in  catching  a 
worm  on  a  willow  branch  that  hung  over  the  water.  Mizu-e 
in  beni,  blue,  and  pearl  gray. 

Hosoe.  Signed:  Kitao  Shigemasa  ga.  About  1764. 

59.  A  WAITRESS  OF  THE  HAYASHLYA  TEA=HOUSE 

Hoso-e.  Signed:  Kitao  Shigemasa  ga.  About  1769. 


60.  WOMEN  BOILING  COCOONS  AND  DRYING  FLOSS  SILK 

One  of  the  Silk  Culture  series,  “Kaiko  Yashinai  Gusa,”  bv 
Shigemasa  and  Shunsho. 

Chuban.  Signed:  Kitao  Shigemasa  ga. 

61.  THE  SEVEN  FORTUNE  GODS 

SAILING  IN  THE  TREASURE  SHIP 

Yoh  o-e.  Signed :  Kitao  Shigemasa  ga. 


* 


62.  ISHIYAMA  AKI  NO  TSUKI 

Autumn  Moon  at  Ishiyama.  Young  boys  playing  by  moon¬ 
light.  One  of  the  series,  Yatsushi  Hakkei,  Eight  Trans¬ 
formed  Views. 

Chuban.  Signed:  Kitao  Shigemasa  ga. 


63.  KATADA  RAKUGAN 

Geese  flying  down  at  Katada.  Young  boys  at  play  in  a 
room,  the  geese  represented  by  the  bridges  for  the  strings 
of  a  koto  which  a  bov  standing  on  a  kotatsu  is  throwing 
down. 

Same  series  as  the  preceding.  Not  signed. 


-1 


b 


D 


First  Evening 


TOR  1 1  Iv  I  YON  AG  A 

(B.  1712,  d.  1813) 

64.  NAKAMURA  RIKO  AS  A  WOMAN 

STANDING  IN  A  GARDEN 

Hosoe.  Signed:  Kiyonaga  ga. 

Late  impression.  Several  large  moth  holes  neatly  patched. 

65.  (A)  SHINAGAWA  NO  KIBAN 

“Returning  Sails  at  Shinagawa,”  and 

(B)  MASAKI  NO  YUSHO 

“The  Evening  Glow  at  Masaki.”  Two  women  at  a  win¬ 
dow  overlooking  Edo  Bay;  and  a  woman  standing  on 
a  landing  pier.  Two  narrow  panels  mounted  together. 
Series:  Furyu  Edo  Hakkei,  “Eight  Stylish  Edo  Views.” 
Signed:  Kiyonaga  ga.  About  1778. 

Register  not  quite  perfect.  Otherwise  in  good  condition. 


66.  ASUKA  SUIBI 

“An  Intoxicated  Beauty  on  Asuka  Hill.”  Two  girls  with 
wind-blown  garments  on  the  summit  of  the  hill,  one  of 
them  waving  her  fan  to  some  person  below. 

Narrow  panel.  Signed:  Kiyonaga  ga.  Publisher:  Eijudd. 
About  1778. 

Slightly  toned  but  not  faded. 


67.  WASHING  HER  HANDS 

A  girl  dipping  water  from  a  chozu-bashi,  while  a  young 
man  stands  by  her  side. 

Narrow  panel.  Signed:  Kiyonaga  ga.  Publisher:  Eijudd. 
Y oshiwara  Views.”  Not  signed.  About  1778. 


First  Evening 


SANNO  O-SAIREI 

“The  Great  Sanno  Festival.”  Three  prints  of  a  series  depicting 
children  carrying  ornamental  lanterns  in  the  great  procession  of 
the  Sanno  Sairei  which  was  a  notable  annual  event  in  Edo.  The 
merchants  from  all  parts  of  the  city  contributed  to  make  it  a  success 
and  vied  with  each  other  in  inventing  lanterns,  floats,  and  other  enter¬ 
taining  features. 

Chuban.  Signed :  Kiyonaga  go.  Publisher:  Eijudd.  About 

1720. 

Sttch  choice  early  impressions  as  these  are  rarely  seen.  The 
printing  is  so  deep  as  to  produce  the  effect  of  gauffrage.  The 
color  has  not  faded,  yet  is  beautifully  soft  and  harmonious. 
Condition  immaculate. 


68.  LANTERN  FURNISHED  BY  THE  MERCHANTS 

OF  HIRAKAWA  STREET  AND  YAMAMOTO  STREET 

It  has  on  its  top  a  large  artificial  cherry  tree  and  two 
dolls  representing  the  Emperor  and  the  Empress. 

69.  LANTERN  FURNISHED  BY  THE  MERCHANTS 

OF  MOTO=Z AIMOKU  STREET,  SHINBASHI  DISTRICT 

On  the  top  of  this  lantern  are  a  miniature  drum  bridge,  a 
Shintd  temple  torii,  and  artificial  pine  trees  with  spread¬ 
ing  branches  and  cranes  flying  about  them. 


0'S 


First  Evening 


70.  LANTERN  CONTRIBUTED  BY  THE 

MERCHANTS  OF  KOJIMACHI 

.  A  woman  holds  a  small  boy  on  her  shoulder  and  in  the 

/  J 

'y  foreground  of  the  group  a  boy  is  dressed  to  represent  a 

shdjo,  or  mythical  red-haired  dweller  by  the  sea.  The 
lantern  is  decorated  with  a  model  of  the  Takara-bune  or 
treasure  ship  laden  with  the  shippo  or  sacred  emblems 
of  Buddhism  and  incidentally  of  good  luck. 


r 

u? 


71.  A  MAID  SERVANT  HOLDING  A  LANTERN 

She  turns  her  head  toward  two  young  women  standing 
on  a  veranda  behind  her. 

Chuban.  Series:  Hai  Furyu  Taro.  Signed:  Kiyonaga  ga. 
About  1781. 

Fine  impression  in  beautiful  condition. 


y 


r v 


'y 


72.  DOMESTIC  SCENE 

A  young  woman  greeting  a  girl  who  is  coming  to  her  to 
be  given  a  lesson  in  playing  the  koto. 

Same  series  as  the  preceding  lot.  Also  in  good  condition  but 
somewhat  faded. 


SAKURAI  BUNKYO 

(Probably  a  pupil  of  Kiyonaga) 


\ 


73.  AN  ENTERTAINMENT  AT  SHINAGAWA 

Three  women  in  a  house  overlooking  Edo  bay,  one  of 
them  bringing  a  tray  with  bowls  of  food:  all  are  looking 
toward  the  left. 

Chuban.  One  sheet  of  a  triptych.  Signed:  Bunkyo  ga. 


KATSUKAWA  SHUNCHO 


(Worked  c.  1770—1796) 

Three  prints  of  the  Imoseyama  Go-mai  Tsuzuki  series  of  five, 
and  one  duplicate.  The  meaning  of  the  title  is  not  clear. 

Chuban.  Signed:  Shunchd  ga.  About  1783. 


74.  A  YOUNG  GIRL  DANCING 


A  woman  beats  a  water  bucket  as  a  musical  accompani¬ 
ment  and  another  woman  stands  on  a  veranda  and  looks  on. 

Not  in  perfect  condition. 


First  Evening 


75.  GROUP  OF  THREE  WOMEN 

Two  are  standing,  the  third  is  seated  on  the  ground  by  the 
veranda  of  a  mansion. 

76.  A  DETENTION 

A  woman  seated  on  a  bench  in  a  garden,  catches  hold 
of  a  young  samurai’s  haori  and  modestly  turns  her  head 
away,  while  two  girls  standing  behind  her  view  the  pro¬ 
ceeding  expectantly. 

Fine  impression  in  excellent  condition, 

77.  A  DETENTION 

Another  impression.  Large  moth  hole  across  the  man’s 
obi  and  hand,  patched  so  as  not  to  be  very  conspicuous. 


78.  THE  INARI  FESTIVAL 

Two  women,  one  carrying  a  girl  on  her  back,  on  their 
way  to  the  shrine  at  Oji  accompanied  by  a  boy  bearing 
a  gift.  Banners  of  the  buildings  on  the  further  bank  of 
the  river  are  dated  Temmei  Roku,  second  month  Ox  Year, 
i.  e.,  1786. 


First  Evening 


79.  MIKOSHI  ARAI 

Three  girls  at  a  bench  tea-booth  at  Shinagawa.  In  the 
shallow  water  of  Edo  bay  at  the  right  the  ceremony  is 
being  performed  of  washing  the  mikoshi  or  portable 
shrine  in  which  the  sacred  Shint5  emblems  were  carried  in 
the  procession  of  the  Gozu  Tenno  festival,  seventh  day 
of  the  sixth  month. 

Chuban,  Signed :  Shunchd  ga. 

>> 

V 

80.  GEISHA  GOING  HOME 

Three  geisha  accompanied  by  a  man  carrying  a  samisen 
box  over  his  shoulder  are  leaving  for  home  after  a  night’s 
engagement.  Through  an  open  door  above  a  maid  is 
seen  doing  the  morning  sweeping. 

Oban.  Signed:  Shunchd  ga.  About  1788. 

/ 

7 

1/ 

81.  WOMEN  AT  A  BANQUET 

Left  hand  sheet  of  a  triptych. 

Oban.  Signed:  Shunchd  ga.  About  1790. 

n/ 

82.  A  LADY  WALKING  ON  THE  RIVER  BANK 

She  is  attended  by  two  maids  and  a  young  man  carrying 
their  luggage. 

Oban.  Signed:  Shunchd  ga.  About  1790. 

^s> 

83.  ON  ATAGO  HILL 

Three  voung  women  at  a  tea-house  on  the  summit 

Series:  Edo  no  Go  San,  The  Five  Hills  of  Edo. 

Chuban.  Signed:  Shunchd  ga.  About  1790. 

s> 

V 

84.  A  MODERN  KOMACHI 

A  girl  bends  over  a  shallow  tub  while  her  hair  is  being 
washed  by  another  girl,  and  two  others  look  on,  one  of 
them  holding  a  pot  of  hot  water.  Comic  ode  in  cartouche 

V  ’ 

above. 

Chuban.  Signed:  Shunchd  ga.  About  1790. 

85.  KAKITSUBATA.  SIBERIAN  IRIS 

Three  girls  in  a  garden  where  iris  are  in  bloom.  Printed 
in  grays,  yellow,  and  black. 

Chuban,  Signed:  Shunchd  ga.  About  1791. 

First  Evening 


86.  TWO  GEISHA  AT  THE  MASAKI  SHRINE 

One  of  the  series  Edo  no  Ju  sha.  Ten  Edo  Shrines. 
Koban.  Signed:  Shuncho  ga.  About  1791. 


1 


0 


UTAGAWA  TOYOKUNI 


(B.  1769,  d.  1825) 

87.  STREET  SCENE  AT  THE  END  OF  RYOGOKU  BRIDGE 

Groups  of  people  in  the  foreground  and  many  crossing 
the  bridge. 

Oban  triptych.  Signed:  Toyokuni  ga.  Publisher:  Eijudo. 
About  1789. 

Fine  impression.  Good  condition;  colors  softly  faded. 


88.  THE  DREAM  OF  THE  FOX’S  WEDDING 

A  young  woman  in  the  parlor  of  a  great  house  has  fallen 
asleep  seated  before  a  hibachi  and  is  dreaming,  while  her 
maids  are  playing  Uta-garuta,  or  Poem-cards,  a  game 
like  that  of  “Authors.” 

Oban  triptych.  Signed:  Toyokuni  ga.  Publisher:  Eijudd. 
About  1790. 

Fine  impression.  Good  condition;  colors  somewhat  faded. 


89.  THE  DREAM  OF  THE  FOX’S  WEDDING 

Oban.  Bight-hand  sheet  of  the  triptych. 
Late  impression. 


90.  ARASHI  MURAJIRO  AS  HANA  MURASAKI 

Hosoe.  Signed:  Toyokuni  ga.  About  1788. 


91.  A  WOMAN  WEAVING 


Another  woman  is  bringing  her  a  cup  of  tea,  and  a  boy  in 
the  foreground  is  playing  with  three  puppies. 

Oban.  Signed:  Toyokuni  ga.  Publisher:  Wakasa-ya.  About 
1790. 


h 


First  Evening 


O 


92.  CHOFU  NO  TAMAQAWA 

Two  young  women  and  a  small  boy  on  the  banks  of  the 
Chofu  Tama  river.  One  woman  is  standing,  and  the 
other  is  seated  beside  a  large  wooden  tub  used  for  pound¬ 
ing  clothes  as  a  part  of  the  washing  process.  Series : 
Mu  Tamagawa. 

Cliubcin.  Signed  :  Toyokuni  ga.  Publisher :  Takasu. 

Fine  impression.  In  very  nice  condition. 


93.  WOMEN  IN  THE  GARDEN  OF  THE  KACHO  TEA  HOUSE 

Middle  sheet  of  a  triptych. 

Oban.  Signed :  Toyokuni  ga.  Publisher :  Ei judo.  About  1790. 


94.  FURYU  ROK=KASEN 


Stylish  six  famous  poets :  six  young  persons  masquerading 
as  the  most  celebrated  ode  composers  of  ancient  times. 
Oban  triptych.  Framed.  Signed:  Toyokuni  ga.  Publisher: 
Eijudo.  About  1793. 


95.  FURYU  ROK=KASEN 


0 


Left-hand  sheet  of  the  triptych.  A  woman  standing  repre¬ 
sents  Ono  no  Komachi ;  a  woman  seated  and  dressed  as 
a  man,  represents  Ariwara  no  Narihira;  and  a  young  girl 
holds  the  nobleman’s  hat. 


Oban.  Signed:  Toyokuni  ga.  Publisher:  Eijudo. 


KATSUSHIKA  HOKUSAI 
(B.  1760,  d.  1849) 
SHIMPAN  UKI-E 


New  block  perspective  views.  Three  prints  of  a  rare,  very  early 
series. 

Yoko-e.  Signed:  Katsu  Shunrd  ga. 


"V 


0 


96.  RYOGOKU  BASHI  YU=RYO  HANABI  KENBUTSU  NO  ZU 

Crowd  of  people  cooling  off  in  the  evening  at  Ryogoku 
bridge  and  viewing  fireworks.  This  must  have  been  a 
popular  print  and  a  good  seller,  for  it  is  called  Saihan, 
i.  e.,  second  edition. 

Publisher:  Eijudo.  In  good  condition. 


First  Evening 


97.  DAIMYO  PROCESSION  PASSING 

ALONG  THE  BEACH  AT  SHINAGAWA 

Signature  probably  on  the  margin,  •which  has  been  trimmed  off. 
Publisher :  Iwatoya. 

98.  OJI  INARI  ASUKAYAMA  NO  ZU 

View  of  the  Inari  shrine  at  Oji  and  Asukayama.  Many 
pink-flowered  cherry  trees  in  bloom. 

Fine  impression.  Slightly  toned.  Publisher:  Ise-ya  Rihei. 

99.  YAYOI.  THE  THIRD  MONTH 

Boys  celebrating  the  Hina  Matsuri  or  Doll  Festival. 
Series:  Furyu  Kodomo  Asobi  Gosekku.  Elegant  Boys’ 
Sports  on  the  Five  Festival  Days. 

Oban.  Signed:  Gunbatei  zu,  the  rarest  of  Hokusai's  signa¬ 
tures  and  one  of  the  earliest.  Publisher:  Omi-ya. 

100.  BOYS  CELEBRATING  THE  BOYS’  FESTIVAL 

Fifth  day  of  the  fifth  month. 

Same  series  as  the  preceding  lot ;  but  this  sheet  not  signed. 

101.  SCENE  FROM  A  DRAMA 

Ichikawa  Monnosuke  as  Taro,  the  spy.  Arashi  Tatsuzo 
as  Yuri  no  Hachiro. 

Hosoe.  Signed:  Shunrd  ga. 

102.  THE  SEVEN  FORTUNE  GODS 

STORING  THE  RICE  CROP 

Oban.  Ink  proof  from  the  key-block  of  one  sheet  of  a  trip¬ 
tych.  Not  signed,  but  presumably  by  Hokusai  in  his  Shunrd 
period.  Publisher:  Eijudd. 

103.  SURUGADAI  SUIDO  NO  KEI 

View  of  the  aqueduct  at  Surugadai,  Edo. 

Yoko-e.  Signed:  Hokusai  ga.  Publisher:  Eijudo. 

Rare  early  work.  In  good  condition. 

104.  BUSH  CLOVER,  AND  A  HARE  IN  THE  MOON 

Long  surimono  issued  by  the  Okuramai  Renju  (society) 
to  accompany  an  invitation  to  a  recital  by  the  woman 
teacher,  Sumida  Ben,  and  the  musicians  of  the  Nakamura, 
Ichimura,  and  Morita  Theatres.  The  names  of  fifty-eight 
of  these  musicians  are  given. 

Signed:  Sori  ga.  Hare  Year,  1795. 


First  Evening 


105.  GROUP  OF  PEOPLE  GATHERED 

TO  SEE  A  COCK  FIGHT 

Long  surimono.  Signed :  Shinsai. 


106.  AN  APPARITION  IN  A  SNOW  STORM 

Two  laborers  running  away  from  a  woman  who  carries 
on  her  head  a  large  wooden  tub  with  a  red  cloth  wrapped 
about  it. 

Koban.  Signed :  Shinsai. 


107.  GOLD=FISH  CULTURE 


\ 


Two  large  fish  tanks  in  a  garden ;  a  woman  bending  over 
one  of  them  and  holding  a  net,  turns  to  speak  to  another 
woman  seated  on  a  wide  bench,  while  a  boy  brings  a  pan 
of  water. 

Long  surimono.  Signed:  Gakyo-jin  Hokusai  ga. 


First  Evening 


ToIvAIDo  GO-JU-SAN  TSUGI 

Twelve  prints  of  the  T5kaid5  set  in  vertical  format,  size  91/g  x 
67/g  inches.  Originally  issued  in  a  packet.  Only  the  last  sheet  of 
the  series  was  signed. 

108.  (A)  HODOGAYA;  (B)  TOTSUKA;  (C)  FUJISAWA 

109.  (A)  HIRATSUKA;  (B)  ISHIYAKUSHI;  (C)  SHONO 

110.  (A)  KAMHYAMA ;(B)  SEKI;  (C)  KUSATSU 

111.  (A)  OTSU;  (B)  KYOTO;  (C)  IMPERIAL  PALACE,  KYOTO 


HYAKUNIN  ISSHU  URAGAWA  ETORI 

The  Hundred  Poems  Explained  by  the  Nurse.  A  complete  set 
of  the  twenty-seven  prints  of  this  series,  being  all  that  were  published, 
though  Hokusai  drew  designs  for  the  others. 

Yoko-e.  Signed:  Zen  Hokusai  Manji. 

The  meaning  of  many  of  these  ancient  poems,  which  are  written 
in  the  old  Yamato  language  and  contain  allusions  to  things  not  now 
recognizable,  is  obscure,  and  numerous  commentaries  upon  them  have 
been  written.  For  two  of  the  metrical  versions  here  given  the  com¬ 
piler  of  this  catalogue  is  indebted  to  Mr.  Will  H.  Edmunds;  the  others 
are  by  Mr.  F.  V.  Dickens. 


112.  ODE  BY  TENCHI  TENNO 

Scene,  a  rice  field  in  autumn ;  farmers  harvesting  the 
crop. 

My  lowly  hut  is  thatched  with  straw 

From  fields  where  rice-sheaves  frequent  stand, 

Now  autumn’s  harvest’s  well-nigh  o’er, 

Collected  by  my  toiling  hand  : 

Through  tattered  roof  the  sky  I  view 
My  clothes  are  wet  with  falling  dew. 


First  Evening 


113.  ODE  BY  JITO  TENNO 

People  fording  a  stream,  two  of  them  bowing  low  to  each 
other:  women  carrying  freshly  washed  cloth  to  drying 
racks  in  the  distance. 

0  T  he  pleasant  spring  hath  passed  away 

*]/  Now  summer  follows  close,  I  ween, 

And  Ama’s  sacred  summit  may 
In  all  its  grandeur  now  be  seen ; 

Of  yore  the  drying  ground 
Whitened  with  angels’  robes  spread  far  around. 


114.  ODE  BY  KAKI  =  NO=MOTO  NO  HITOMARU 

Men  dragging  nets  up  a  mountain  stream  like  a  “pheasant’s 
tail,”  in  the  early  morning. 

✓ 

The  hill-side  fowl  his  long-drooped  tail 
Sweeps  o’er  the  ground- — so  drags  the  night. 

My  lonely  plight 

I  mourn — my  sleepless  wretchedness  bewail. 


✓Q 

V 


115.  ODE  BY  YAMABE  NO  AKAHITO 

Travellers  toiling  up  a  hill  on  the  shore  of  Tago  bay; 
Fuji  in  the  distance. 

From  where  my  home, — 

My  lonely  home, — on  Tago’s  shore 
Doth  stand,  the  wandering  eye  may  roam 
O’er  Fujiyama’s  summit  hoar 
Whose  lofty  brow 
Is  whitened  by  new-fallen  snow. 


V 


116.  ODE  BY  SARUMARU  TAYU 

Women  passing  through  the  mountains  in  autumn  pause 
to  listen  to  the  cry  of  a  stag. 

Now  ’mid  the  hills  the  momiji 

Is  trampled  down  ’neath  hoof  of  deer, 

Whose  plaintive  cries  continually 
Are  heard  both  far  and  near: 

My  shivering  frame 

Now  autumn’s  piercing  chill  doth  blame. 


First  Evening 


117.  ODE  BY  CHUNAGON  YAKAMOCHI 

]\len  on  a  junk  watch  the  flight  of  magpies  at  nightfall. 

If  the  “Magpie  Bridge” —  j  0 

Bridge  by  flight  of  magpies  spanned — 

White  with  frost  I  see: — 

With  a  deep  laid  frost,  made  white: — 

Late,  I  know,  has  grown  the  night. 


118.  ODE  BY  ABE  NO  NAKAMARO 

The  poet  in  China  being  starved  by  Imperial  command 
wrote  the  poem  in  blood  on  his  sleeve. 

I  search  high  heaven 
And  now  above  Mikasa 
In  the  land  of  Kasuga 
I  know  the  moon  is  shining, 

Yon  moon  I  see  now  rising. 


119.  ODE  BY  ONO  NO  KOMACHI 

Peasants  outside  a  farm  house  engaged  in  the  ordinary 

drudgery  of  life.  ^  A  ^ 

"V 

Thy  love  hath  passed  away  from  me 
Left  desolate,  forlorn — 

In  winter  rains  how  wearily 
The  summer  past  I  mourn ! 


120.  ODE  BY  SANJI  TAKAMURA 

A  boat  putting  out  to  sea  passes  the  rocks  at  Ise  where 
women  are  diving  for  awabi  shells. 

Ye  fishermen,  who  range  the  sea 
In  many  a  barque,  I  pray  ye  tell 
My  fellow-villagers  of  me — 

How  that  far  o’er  vast  ocean’s  swell, 

In  vessel  frail 
Towards  Yasoshima  I  sail. 

Fine  impression.  Good  condition. 


o 


O' 


First  Evening 


121.  ODE  BY  SOJO  HENJO 

Two  noble  ladies  in  a  sacred  dance  in  a  Shinto  ceremony 
at  Court. 

X)  In  fitful  path  across  the  sky, 

By  various  winds  of  heaven  forced, 

Cloud-borne  Otome  glideth  by — 

N  ow  hath  the  breeze  its  vigour  lost 
An  instant,  and  her  form  so  bright 
For  a  fleeting  moment  greets  my  sight. 


122.  ODE  BY  ARIWARA  NO  NARIHIRA 

Peasants  crossing  a  bridge  over  the  Tatsuta  river  in  au¬ 
tumn  when  red  autumn  leaves  tint  the  stream. 

/ 

0  Tatsta!  when  th’  autumnal  flow 

-v 

I  watch  of  thy  deep  ruddy  wave — 

E’en  when  the  stern  gods  long  ago 
Did  rule,  was  ne’er  beheld  so  brave, 

So  fair  a  stream  as  thine  I  trow. 


123.  ODE  BY  FUJIWARA  NO  TOSHIYUKI 

Scene,  a  great  junk  sailing  on  Suminoe  bay. 


/ 


Tho’  softly  as  the  waves  do  break 
On  Suminoe’s  shore  I  seek 
To  meet  thee,  love  e’en  in  a  dream, 

To  dead  men’s  curious  eyes  I  seem. 


124.  ODE  BY  ISE 

In  a  house  where  tilers  are  at  work  upon  the  roof,  a  woman 
and  her  daughter  sit  by  an  open  window,  the  daughter 
watching  the  departure  of  a  loved  one. 

Scant  are  the  joints  of  Ashi  reed 
That  grow  Nanihagata  nigh, 

While  time  o’er  e’en  as  brief  space  speed 
Fail’st  thou  to  greet  my  longing  eye. 

I  fain  would  die! 


First  Evening 


125.  ODE  BY  MOTOYOSHI  SH1NNO 

Two  women  gazing  across  Osaka  bay.  Behind  them  in 
the  foreground  a  man  is  leading  a  laden  carabao. 

Distracted  by  my  misery 
How  utterly  forlorn  am  I ; 

Oh !  that  I  might  thee  once  more  see, 

Tho’  it  should  cost  my  life  to  me ! 


126.  ODE  BY  KAN=KE  (MICHIZANE) 

His  ox  cart  and  servants  waiting  for  him  while  he  visits 
a  temple  on  Mount  Tamuke. 

This  time,  I  ween,  no  need  there  be 
A  nusa  I  should  take  with  me : 

The  nishki  of  the  maple  tree 
Tamuke-yama  thou  dost  show. 

’Twill  serve  the  gods  full  well  I  trow. 


127.  ODE  BY  TEISHIN  KO 

The  monks  at  Ogurayama  welcoming  Prince  Kane  who 
visits  the  temple  in  autumn. 

How  pleasant  ’tis  the  tints  to  see 
Of  reddening  leaves  of  momiji 
That  on  Ogura’s  summit  grow ! 

Ah !  did  they  but  their  beauty  know 
They’d  linger  till  there  pass’d  again 
Our  Emperor’s  miyuki  train. 

128.  ODE  BY  MINAMOTO  NO  MUNEYUKI 

Woodsmen  in  winter  warming  their  hands  by  a  blazing 
fire. 

The  hamlet  bosom’d  ’mid  the  hills 
Aye  lonely  is;  in  winter  time 
Its  solitude  with  mis’ry  fills 

My  mind,  for  now  the  rig’rous  clime 
Hath  banished  every  herb  and  tree 
And  every  human  face  from  me. 

Fine  impression.  Good  condition. 


First  Evening 


129.  ODE  BY  HARUMICHI  NO  TSURAKI 


^7 


O 


Sawyers  at  work  upon  a  great  log  by  a  stream  where  a 
man  is  raking  out  maple  leaves,  and  a  woman  is  leading 
a  boy  across  on  a  log  bridge. 

The  winds  of  autumn  have  amassed 
Dried  withered  leaves  in  ruddy  heaps, 

Have  them  in  th’  mountain  torrent  cast, 

Whose  stream  in  stony  channel  sweeps ; 

Amid  the  rocks  that  bar  the  way 
The  Mom-ji’s  reddened  leaves  delay. 


130.  ODE  BY  KIYOWARA  NO  FUKAYABA 

Evening  scene.  Pleasure  boats  on  a  broad  river. 


/ 


’Twas  a  summer’s  night,  I  scarcely  thought 
The  evening  hours  had  passed  away 
When  dawn  broke ;  long  the  moon  I’d  sought, 
Nor  knew  where  ’mid  the  clouds  she  lay. 


131.  ODE  BY  BUNYA  NO  ASAYASU 

Women  in  a  boat,  gathering  lotus  leaves. 


Now  dew-drops  sparkling  o’er  the  moor  are  seen, 
The  autumn  gust  sweeps  howling  by, 

Scarce  lurks  an  instant  ’mid  the  reeds  I  ween, 

In  timid  show’r  the  dew  drops  fly, 

And,  scattered  o’er  the  grass,  there  lie. 


132.  ODE  BY  SANGI  HITOSHI 

A  nobleman  attended  by  two  servants  walking  along  a  path 
through  fields  enveloped  in  long  clouds  of  fog. 

Like  humble  Asaju  amid 
The  reeds  of  Ono’s  moor  hid 

I  would  my  passion  were  concealed 
But  by  its  flower  the  Asajii: 

By  my  too  ardent  love  for  you 
My  secret  passion  stands  revealed. 


First  Evening 


133.  ODE  BY  ONAKATOMI  YOSHINOBU 

The  poet  sits  on  a  hill  overlooking  a  misty  plain,  while 
outside  the  Imperial  gateway  just  below,  warders  are 
grouped  about  a  fire. 

Th’  Mikaki-mori  through  the  night 
(And  men  the  warder  Yeji  name) 

The  watch-fire’s  blaze  keeps  full  and  bright; 

When  morning  breaks,  then  dies  the  flame; 

So,  too,  at  dawn 
My  happiness  is  past  and  gone. 

134.  ODE  BY  FUJIWARA  NO  YOSHITAKA 

A  great  bath  house  by  a  lake  where  water  birds  are  diving. 
Clouds  of  steam  rise  from  the  hot  baths,  and  bathers  are 
resting  on  the  balcony. 

Ere  I,  O  maid !  had  worshipped  thee, 

A  drear,  uncared-for  life  was  mine: — 

O  may  long  years  be  granted  me 

Now  that  my  heart,  O  maid,  is  thine! 

135.  ODE  BY  FUJIWARA  NO  MICHINOBU 

Travellers  being  carried  in  kago  down  a  hill  in  the  fore¬ 
ground  and  along  a  road  winding  over  a  gray  plain  stretch¬ 
ing  away  to  the  horizon  where  trees  are  silhouetted  against 
the  early  morning  light. 

Though  I  know  full  well 

That  the  night  will  come  again, 

E’en  when  the  day  has  dawned : — 

Yet  in  truth  I  hate  the  sight 
Of  the  morning’s  coming  light. 

136.  ODE  BY  SANJO  NO  IN 

Shint5  ceremony  in  the  Imperial  palace  in  honor  of  the 
autumn  full  moon. 

Fain  would  I  in  this  world  so  hard 
No  longer  live,  but  still  must  stay: — 

How  wistfully  my  eves  regard 

The  midnight  moonbeams’  tranquil  sway ! 


First  Everting 


/ 


137.  ODE  BY  DAINAGON  TSUNENOBU 

An  uphill  road  overlooking  rice  fields.  Farmers  are  carry¬ 
ing  baskets  on  a  pole,  and  women  filling  water  buckets  in 
a  brook  by  the  roadside. 

Now  twilight  darkens,  and  the  breeze 
Rustles  the  homeside  rice-fields  ’mong, 

And  murmuring  sounds  my  ear  please, 

As  past  my  hut  with  thatch  o’erhung 
Of  Ashi  grass, 

The  sweeping  gusts  of  autumn  pass. 


138.  ODE  BY  GONCHUNAGON  SADAIYE 


Salt  makers  at  work  on  a  sea  beach ;  a  great  column  of 
smoke  streaming  upward  from  the  fire  under  the  boiling 
pans  in  a  straw  hut ;  at  the  left  men  stacking  bundles  of 
faggots. 

On  Mats’ho’s  shore,  our  meeting  place, 

At  dusky  hour  of  night,  I  wait 
My  longed-for  mistress  to  embrace : 

Ah,  why  then  linger’st  thou  so  late! 

My  ardent  passion,  than  the  fire 
That  heats  the  salt-pans,  rages  higher. 


ANDO  HIROSHIGE 

(B.  1797,  d.  1858) 

HONCHO  MEISHO 

“Famous  Sights  of  the  Main  Island.”  Three  prints  of  this  series, 
which  apparently  was  begun  before  1830  and  continued  at  intervals 
for  some  years  thereafter. 

Yoko-e.  Published  by  Fuji-hiko. 

139.  SUNSHU 

Fujikawa  Watashi-bune  no  Zu. 

The  ferry  across  the  Fujikawa,  province  of  Sunshu:  Fuji 
san  in  the  distance. 

140.  SHINSHU 

Sarashina  Tagoto  no  Tsuki. 

The  moon  reflected  in  a  rice  field  at  Sarashina,  province  of 
<-j  ^  ^  Shinshu. 


\4 


First  Evening 


141.  SESSHU 

Nunobiki  no  Taki.  -  ' 

The  Nunobiki  waterfall  at  Kobe,  province  of  Sesshu. 

NANIWA  MEISHO  ZU  KAI 


Famous  sights  in  Naniwa,  a  poetic  name  for  Osaka.  Two  prints 
of  the  series. 

Yoko-e.  Signed :  Hiroshige  ga.  Published  by  Kawaguchi 
Shozo. 


\ 


142.  HACHI  KENYA  CHAKU  SEN  NO  ZU 

A  boat  arriving  at  the  Hachi  Kenya  wharf. 

143.  IMAMIYA  TOKA  EBISU 

The  Ebisu  festival  at  the  village  of  Imamiya. 


\  0  O 


KYOTO  MEISHO 

Famous  Sights  of  Kydto.  Complete  set  of  ten  prints. 

Yoko-e.  Signed:  Hiroshige  ga.  Published  by  Kawaguchi. 

144.  GION  YASHIRO  SETCHU 

Gion  Shrine  in  Snow. 

In  good  condition.  The  darker  gray  printed  a  little  too 
strong. 


145.  YODOGAWA 

A  great  boat  on  the  Yodo  river,  under  the  light  of  the 
full  moon.  Two  straining  boatmen  are  poling  the  craft, 
while  the  passengers  seated  under  a  straw  canopy  are 
taking  refreshments,  some  of  which  are  being  served  from 
a  smaller  boat  tied  alongside. 


146.  SHIMABARA  DEGUCHI  NO  YANAGI 

Willow  tree  at  the  exit  from  the  Shimabara. 

First  edition.  Fine  impression.  In  good  condition  but  not 
quite  perfect. 


147.  KIYOMIZU 

The  temple  nestling  in  a  grove  of  blossoming  cherry  trees. 
First  edition.  Good  impression.  Trimmed  slightly  all  around. 


0 


First  Evening 


\ 


>9 


148.  KINK AKUJI 

The  famous  shrine  with  its  surrounding  pond  and  grove; 
and  a  rounded  hill  in  the  distance. 


149.  SHIJO  MACHI  YUSUZUMI 

“Evening  cooling”  on  a  dry  sand-bar  in  the  river  opposite 
Shi  jo  street. 

Good  impression,  in  excellent  condition. 


3 

6 


/ 

*7 


150.  TADASU  KAWARA  NO  YUDACHI 

The  dry  river-bed  at  Tadasu  filled  by  a  sudden  shower. 
Ordinary  impression.  Margins  trimmed.  Moth  holes  patched. 

151.  YATSUSE  NO  SATO 

The  village  of  Yatsuse  in  the  environs  of  Kyoto.  Faggot 
gatherers  returning  to  the  city  along  a  path  through  the 
fields. 

Impression  with  unusually  deep  color. 


152.  TSUTEN  KYO  NO  KOFU 

Red  maples  at  Tsuten  bridge. 

3  0  Very  good  impression.  In  fine  condition. 


153.  ARASHIYAMA 

Cherry  trees  in  bloom  on  the  mountain  side  at  the  foot 
of  Yoshino  rapids.  On  the  river  in  the  foreground  two 
3  men  poling  a  raft. 

Fine  impression.  Slightly  soiled  along  a  vertical  fold, 

TOKAIDO  GO-JU-SAN  TSUGI  NO  UCHI 

The  Fifty-three  Post-Stations  of  the  Tbkaido,  known  as  the 
First  Tokaido  series. 

Yoko-e.  Signed:  Hiroshige  ga.  Publisher:  Takeuchi. 
Complete  set  of  fifty-five  prints  and  several  duplicates.  As  this 
series  is  so  well  known  detailed  descriptions  are  not  here  given. 


154.  NIHON  BASHI 

The  second  design. 

Fine  impression.  Perfect  condition. 


First  Evening 


155.  SHINAGAWA 

Daybreak.  The  earlier  design. 

156.  KAWASAKI 

Ferry  over  the  Rokugo  river.  The  earlier  design  with 
the  man  on  the  raft. 


to 

\  & 


157.  KANAGAWA 

Sunset.  The  earlier  design  without  the  posts  in  the  fore¬ 
ground. 


158.  HODOGAYA 

Shinkame  Bridge. 

Printed  very  dark,  but  a  good  impression, 

159.  TOTSUKA 

The  earlier  design. 

160.  FUJISAWA 

161.  HIRATSUKA 

162.  OISO 

Tiger  Rain. 


I  b 


1 6 

7  4? 


163.  ODAWARA 

Fording  the  Sako  River.  The  re-engraved  design  with  five  _ 

figures  on  the  bank  in  the  foreground. 


164.  HAKONE  LAKE 

Late,  but  very  good  impression.  In  fine  condition. 


165.  MISHIMA 

Morning  Mist. 
Late  impression. 


166.  NUMAZU  Jf 


167.  HARA  y  0 

Fine  impression.  Good  condition.  J  — * 


168.  YOSHIWARA 


First  Evening 


^  169.  KAMBARA 

Snowy  Evening-. 

170.  YUI 

y  171.  OKITSU 

x  172.  EJIRI 

Late  impression. 

y  173.  FUCHU 

174.  MARIKO 

S 

Impression  with  rose-pink  sky — not  faded. 

$2  175.  OKABE 

Fine  impression.  In  good  condition. 

y  176.  FUJIEDA 

177.  SHIMADA 

Late  impression. 

178.  KANAYA 

^  179.  NISSAKA 

I  q  180.  KAKEGAWA 

Fine  impression.  Good  condition. 


181.  FUKUROI 

Z> 

Good  impression. 


/ 

b 


182.  FUKUROI 

Another  impression. 


Later  edition. 


183. 


MITSUKI 

Late,  hut  fairly  good  impression. 


I 


I  y  184. 


185. 


!> 

^  186. 


b 


HAMAMATSU 

MAIZAKA 

ARAI 


First  Evening 


187.  SHIRASUKA  I 

188.  FUTAGAWA  s' 

189.  YOSHIDA  £ 

190.  GOYU 

191.  AKASAKA 

Late  impression. 


192.  FUJIKAWA 

Fine  impression.  Good  condition.  ^ 

193.  OKAZAKA  ^ 

194.  CHI  RYU 

Impression  without  the  hill  at  the  horizon.  Sj 

195.  NARAMI  ^ 

y 

196.  MIYA  ^ 

197.  KUWANA 

198.  YOKKAICHI  2 

Fine  impression.  Good  condition,  i  y 

199.  ISHIYAKUSHI  £ 

200.  SHONO 

Late  impression.  '  ^ 


201.  KAMEYAMA  ^0 

202.  SEKI 

y 

203.  SAK  A=NO=SH  IT  A 


204.  TSUCHIYAMA 

205.  MIZUKUCHI 

206.  ISHIBE 


Good  impression. 


First  Evening 


/ 


207.  KUSATSU 


208.  OTSU 


b 


b 


209.  OTSU 

Another  impression. 

210.  KYOTO  \  0 


ToIvAIDo  GO-JU-SAN  TSUGI 

Nineteen  prints  of  the  half-block  set  published  by  Sano-ki. 
impressions  of  the  prints  of  this  set  are  rare. 

s  211.  FUJISAWA 

View  of  the  village ;  Yuyoji  Torii  at  the  left. 

212.  HIRATSUKA 

Ferry  over  the  Banyu  River. 


213.  OISO 


View  of  the  village  and  the  bay. 


\b 


( 


/ 


214.  MISHIMA 

The  village  in  winter  after  a  heavy  snowfall. 

215.  NUMAZU 

The  highroad.  Fuji  seen  at  the  left  across  rice  fields. 

216.  HARA 

View  of  Fujisan  on  a  clear  afternoon. 

217.  YOSHIWARA 

The  road  across  the  marsh.  Fuji  in  the  distance. 


218.  FUCHU 


Second  street  in  the  Kuruwa  quarter. 


CjO,  219.  SHIMADA 

)  A  daimvo  cortege  fording  the  Oigawa. 


Good 


First  Evening 


220.  KANAYA 

Porters  preparing  to  carry  a  daimyo  cortege  across  the 
ford. 

221.  KAKEGAWA  cD 

.. 

The  bridge  and  Akihasan  Torn. 


222.  MITSUKI 

The  ferry  across  the  Tenryugawa. 

223.  MAIZAKA 

Ferry  boats  crossing  to  Imakiri. 


224.  FUTAGAWA 

Travelers  seeking  shelter  from  a  shower  at  a  wayside  tea¬ 
house. 

225.  YOSHIDA 

View  of  the  castle  and  the  bridge  over  the  Toyo  river.  ~j 

226.  FUJIKAWA 

A  traveller  on  horseback  approaching  the  village  in  a  snow 
storm. 


227.  SHONO 

A  traveller  in  a  kago  carried  at  a  rapid  pace  along  the 
road  through  the  rice  fields. 

228.  TSUCHIYAMA 

Travellers  passing  Suzukayama  in  a  shower.  ^ 

229.  KYOTO 

The  Sanju  big  bridge. 


OMI  HAKKEI 

Eight  scenes  of  Omi.  Complete  set  of  eight. 

Yoko-e.  Signed :  Hiroshige  ga.  Published  by  Kawaguchi  arid 
Takeuchi. 

230.  YABASE  KIBAN 

Returning  sails  at  Yabase. 

First  edition.  Publisher :  Kawaguchi.  Hi 

Fine  impression.  Slightly  soiled  along  vertical  fold. 


First  Evening 


23 1.  SETA  YUSHO 

The  evening  glow  at  Seta. 

First  edition.  Publisher :  Takeuchi. 
Good  impression.  Stained. 


232.  KATADA  RAKUGAN 


Geese  flying  down  at  Ivatada. 

Not  first  edition.  Publisher:  Kawaguchi. 
Poor  impression.  Trimmed  oil  all  sides. 


233.  AWAZU  SEIRAN 

Clear  weather  after  a  storm  at  Awazu. 
Not  first  edition.  Publisher:  Takeuchi. 
Poor  impression.  Margins  trimmed. 


234.  ISHIYAMA  AKI  TSUKI 


The  autumn  moon  at  Ishiyama. 


\l 

o 


First  edition.  Publisher :  Takeuchi. 
Ordinary  impression.  Slightly  soiled. 


235.  MIIDERA  BANSHO 


The  vesper  bell  at  Mii  temple. 
Second  edition.  Publisher :  Takeuchi. 
Fine  impression.  In  good  condition. 


236.  MIIDERA  BANSHO 

Second  Edition.  Another  impression,  not  in  very  good  condi- 
\  ^  tion. 


231.  HIRAYAMA  BOSETSU 


Evening  snow  on  Mount  Hira. 

First  edition.  Publisher :  Kawaguchi. 
Good  impression.  In  excellent  condition. 


First  Evening 


2 38.  KARASAKI  YORU  AME 

Night  rain  at  Karasaki.  The  famous  old  pine-tree  in  a 
heavy  downpour. 

First  edition.  Publisher :  Kawaguchi. 

Fine  impression  in  flawless  condition.  Impressions  of  this  print 
vary  greatly.  In  the  very  finest  the  tree  is  shaded  darkest  at 
the  bottom,  but  so  much  depends  upon  the  quality  of  the  im¬ 
pression  that  it  is  difficult  to  set  up  a  rigid  standard.  This 
impression  is  a  particularly  good  one. 


EDO  KINKO  HAKIvEI 

“Night  Views  in  the  Environs  of  Edo.”  Three  prints  of  the  series. 
Yoko-e.  Signed:  Hiroshige  ga.  Published  by  Kikakudo. 


239.  IKEGAMI  BANSHO 

The  vesper  bell  at  Ikegami  temple. 
Late  impression. 


240.  ASUKAYAMA  BOSETSU 

Evening  snow  on  Asuka  hill. 

Late  impression;  the  white  flakes  of  the  falling  snow  put  on  by 
hand  quite  recently. 


241.  SHIBAURA  SEIRAN 

Clear  weather  after 


a  storm  at  Shibaura. 


First  Evening 


KANAZAWA  HAKKEI 

“Eight  Scenes  of  Kanazawa.”  Four  prints  of  this  series. 

Yoko-e.  Signed :  Hiroshige  ga. 

Published  by  Koshimura  Heisuke. 


242.  NOJIMA  YUSHO 


The  evening  glow  at  Nojima. 
hate  impression. 

243.  SUSAKI  SEIRAN 

Clear  weather  after  a  storm  at  Susaki. 

244.  SHOMYO  BANSHO 


The  vesper  bell  at  Shomyo.  A  woman  in  a  boat  that  is 
passing  by  listens  with  head  bent  down  to  the  sound  of  the 
bell  from  a  little  shrine  on  the  hillside  above  a  fishing 
village  on  the  shore. 


245.  UCHIKAWA  BOSETSU 

Evening  snow  on  the  Uchi  river. 


246. 


0/ 


-G 


YUMOTO  HOT  SPRING 

Yoko-e.  Series  Hakone  Chichi  To  Zue. 
Springs  of  the  Hakone  district.” 
Published  by  Sano-ki.  1852. 

First  edition.  Fine  impression. 


“The  Seven  Hot 


SADATORA 

(Nineteenth  century) 

Three  prints  from  an  unnamed  series  of  Edo  views. 

Yoko-e.  Two  signed:  Sadat  or  a  ga;  one  not  signed. 

-0  247.  FUKAGAWA  SUSAKI  SHIOHI  NO  ZU 

1V  View  of  Susaki  at  low  tide. 

<2^  248.  KAMEIDO  TEMMANGU  KYONAI  NO  ZU 

j  Inside  the  grounds  of  the  Tenjin  shrine  at  Kameido. 

/  249.  ROKUGO  NO  WATASHI 

View  of  Rokugo  Ferry. 

Not  signed. 


First  Evening 


KUNINAGA 

(D.  about  1830) 

250.  SEGAWA  SHICHIJO  AS  A  WOMAN 

HOLDING  A  DRAWN  SWORD 

Hosoe.  Signed:  Kuninaga  ga. 

Publisher :  Y  ama-nag  a.  About  1799.  (?) 

251.  A  PARTY  IN  A  HOUSE  BY  THE  RIVER 

Oban.  One  sheet  of  a  triptych. 

Signed:  Kuninaga  ga.  Publisher:  Izumi  ya.  About  1830. 

252.  FURYU  HASSENNIN 

Eight  stylish  fairies.  A  woman  as  Oshikio  Sennin,  riding 
upon  a  white  crane;  another  woman  as  Tekkai  Sennin 
exhaling  her  spiritual  essence  as  a  little  white  horse. 

Oban.  Left-hand  sheet  of  a  triptych.  Signed :  Kuninaga  ga. 
Dated,  Tiger  Year,  intercalary  month,  i.  e.  1830. 

KUNINOBU 

(Probably  a  pupil  of  Harunobu) 

253.  YOUNG  BOYS  AT  PLAY 

Hosoe.  Signed:  Kunmobu  ga.  About  1770. 

KUNIHIRO 

(Worked  in  middle  nineteenth  century) 

254.  ACTOR  IN  THE  ROLE  OF  BENKEI 

He  stands  in  a  boat  and  holds  a  kageando  (dark  lantern) 
in  his  outstretched  hand. 

Large  surimono.  Signed :  Kunihiro  utsusu. 

255.  ARASHI  RIKAN  AS  A  BASKET  PEDDLER 

Large  surimono.  Signed  Kunihiro. 

GOUNTEI  SADAHIDE 

(Worked  in  middle  of  nineteenth  century) 

256.  THE  CHINESE  INVASION  REPELLED  BY  THE  JAPANESE 

ARMY  UNDER  HOJO  TOKIMUNE  IN  1278  A.D. 

Oban  triptych.  Signed:  Gountei  Sadahide  zu.  Published  by 
Marutohu.  Dated  Tiger  Year,  1866. 


First  Evening 


257.  HAKONE  NO  FUJI 

View  of  Fuji  san  from  Hakone  lake.  Printed  in  tones  of 
blue. 

Uchiwa  mount.  Signed,  Sadahide  ga. 

BUNSHIN  AND  SETSU-O 

(Worked  in  middle  of  nineteenth  century) 

258.  TWO  PICTURES  OF  WATERFALLS 

(a)  A  half-block  vertical  panel,  signed  and  sealed,  Bunshin, 
I  0  date  about  1842.  (b)  A  Small  vertical  print  from  a  sheet 

of  harimaze,  signed,  Setsu-6  zu. 


0 


£ 


KEISAI  EISEN 

(B.  1790,  d.  1848) 

259.  EDO  SUMIDAGAWA  YUKI  NO  ENKEI 

Distant  view  of  the  Sumida  river  in  snow, 
crossing. 

\  /  Yoko-e.  Signed:  Eisen  ga. 

Poor  impression.  Binder's  holes  near  left  edge. 


Ferry  boat 


n 


/ 

b 


260.  SHINOBU  GA  OKA  NO  BOSETSU 

Evening  snow  at  Shinobazu  pond. 

Yoko-e.  Signed :  Eisen  ga. 

Four  prints  from  an  unnamed  series  of  Edo  views. 

Yoko-e.  Signed :  Eisen, 

261.  NIHON  BASHI  YORI  FUJI  0=MIRU  NO  ZU 

View  of  Fuji  from  Nihon  bridge. 

262.  SHINOBAZU  BENTEN  YORI  TOEZAN  0=MIRU  NO  ZU 

View  of  Toezan  from  Shinobazu  pond. 


s> 

-a 


263.  KINRYUSAN  ASAKUSA  DERA  KANZEON  KYONAI  NO  ZU 


In  the  grounds  of  Kinryusan  temple,  Asakusa. 

264.  RYOGOKU  BASHI  YORI  TATEKAWA  0=MIRU  NO  ZU 

View  of  Tatekawa  from.  Ryogoku  bridge. 


First  Evening 


NIKKOSAN  MEISHO  NO  UCHI 
Famous  sights  in  the  Nikko  mountains.  Set  of  five  views  of  water¬ 
falls. 

Oban.  Signed :  Keisai  Eisen  sha.  Unusually  good  impressions. 
Soft  color. 

265.  URAME  NO  TAKI 

A  straight  fall  with  a  road  passing  behind  it  on  the  moun¬ 
tain  side. 

266.  KEGON  NO  TAKI 

A  fall  plunging  into  a  rocky  gorge ;  three  men  viewing  it 
from  a  cliff  at  the  right. 

267.  SOMEN  NO  TAKI 

The  Noodle  fall,  so  called  because  the  water  is  thought  to 
assume  the  form  of  noodles. 

268.  JIYAKUKO  NUNOBIKI  NO  TAKI 

A  fall  of  many  cascades  coming  down  the  mountain  side. 
A  Shinto  shrine  in  the  foreground. 

269.  KIRIFURI  NO  TAKI 

The  famous  Kirifuri  fall  where  the  water  is  broken  into 
many  small  streams. 


270.  CAMELLIA  AND  MEJIRO  (THE  JAPAN  WHITE=EYE) 

Deep  blue  ground. 

Half -block  vertical  panel.  Signed :  Keisai. 


271.  TIGER  AND  FULL  MOON 

Hosoe.  Signed :  Keisai. 


1 


s 


9 


272.  NARIHIRA  ON  HIS  EASTERN  JOURNEY 

PAUSING  TO  LOOK  AT  MOUNT  FUJI 

One  of  the  series  Meisho  Koseki  Gyotei  no  Ki.  Famous 
Historical  Places  Named  in  Travellers’  Tales. 

Koban.  Signed :  Ippitsusai  Eizan  ga. 


First  Evening 


A 


273.  A  FALCON  ON  A  TSUBAKI  TREE 

Printed  in  blues  with  a  touch  of  yellow. 
Oban.  Signed :  Exsen  ga.  Publisher :  So  yo. 


274.  A  YOUTH  PLAYING  A  FLUTE 

Kakemono-e.  Framed.  Signed:  Keisai  Eisen. 

275.  CARP  ASCENDING  A  WATERFALL 

Kakemono-e.  Framed.  Signed:  Keisai  hitsu.  Seal:  Eisen. 

V'  Publisher :  Kansendo. 

•of  Fine  impression. 

'V 


<> 


0 

V 


SUZUKI HARUNOBU 

(B.  about  1730,  d.  1770) 


276.  TWO  POPULAR  KYOTO  BEAUTIES 

Waitresses  at  a  branch  of  the  Niken  Tea-house  at  Gion, 
in  Kyoto-  One  stands  upon  the  engawa ;  the  other  is 
pausing  as  she  walks  awray  carrying  a  tea-kettle. 

Chuban.  Signed:  Suzuki  Harunobu  ga.  About  1769. 

Fine  impression.  In  good  condition. 


First  Evening 


277.  A  BEVY  OF  BEAUTIES 

An  oiran  attended  by  her  kamuro  and  two  shinzo.  ^ 

Chuban.  Signed:  Suzuki  Harunobu  ga.  About  1766. 

Faded  and  slightly  soiled. 

278.  RYOGOKU  BASHI  YUSHO 

The  Evening  Glow  at  Ryogoku  Bridge.  An  oiran  and 
her  kamuro  on  the  veranda  of  a  tea-house  by  the  river; 
Ryogoku  bridge  and  Fuji  san  in  the  distance.  One  of  the 
series  Furyu  Edo  Hakkei. 

Chuban.  Signed:  Suzuki  Harunobu  ga.  About  1769. 

Late  impression.  Fair  condition. 

279.  OSEN  OF  THE  KAGIYA  TEA=HOUSE  AT  KASAMORI 

She  stands  by  the  kamado  and  is  dipping  hot  water  to  fill 
a  tea  bowl. 

Chuban.  Signed :  Harunobu  ga.  1769. 

Fine  impression,  but  not  in  perfect  condition. 

280.  THE  BOY  DOLL 

Two  young  women  seated  by  a  hibachi,  one  of  them  holding 
a  boy  doll. 

Chuban.  Signed :  Harunobu  ga.  About  1768. 

Good  impression.  In  very  nice  condition. 


SECOND  EVENING  SESSION 


TUESDAY,  MAY  7,  1918 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  8.15  O'CLOCK 


SUZUKI  HARUNOBU 

(B.  about  1730,  d.  1770) 

EHON  HARU  NO  NISHIKI 

Brocade  of  Spring  Picture  Book.  Published  by  Yamazaki  Kimbei 
about  1771.  Sixteen  double  page  and  two  single  page  pictures  by 
Harunobu.  Not  signed  except  at  the  end  of  the  book.  Engraved  by 
Endo  Matsugoro. 

281.  GIRLS  ADMIRING  A  BLOSSOMING  PLUM  TREE 

-v 

282.  GIRL  SEATED  BY  A  WRITING  TABLE 

283.  GIRL  STANDING  IN  A  DOORWAY  AND  LOOKING  OUT  2. 

284.  OIRAN  AND  KAMURO  ROLLING  A  LARGE  SNOWBALL  n 

285.  GIRLS  AT  A  SHINTO  SHRINE  ^ 

Looking  at  a  cuckoo  flying  by. 

286.  GIRL  ABOUT  TO  ENTER  A  HOUSE  BY  THE  SEA 

Turning  to  look  at  a  flock  of  plovers  flying  over  the  water. 

287.  YOSHIWARA  WOMEN  ADMIRING  CHERRY  BLOSSOMS7 

288.  WHITE=ROBED  WOMAN  LEAVING  A  HOUSE  AND  CLOS= 

ING  THE  SHOJI  BEHIND  HER. 


Second  'Evening 


<1  y  289.  WOMAN  STANDING  ON  A  VERANDA  BESIDE  A  POTTED 
DWARF  PINE  TREE 

jrO 

290.  WOMEN  SEATED  ON  A  VERANDA  AS  A  HEAVY  SHOWER 
IS  BEGINNING 


291.  A  GROUP  OF  GEISHA  GOING  TO  KEEP  A  PROFESSIONAL 
b  ENGAGEMENT 


1 


292.  TWO  SINGLE  PAGE  PRINTS  IN  ONE  MOUNT 

(a)  A  Stag  and  Doe  under  Maple  Trees  in  Autumn. 

(b)  A  Woman  Seated  in  a  Parlor. 


293.  GIRL  STANDING  WITH  HER  ARM  ABOUT  THE  CORNER 
POST  OF  A  HOUSE 

Looking  at  faggot  gatherers  coming  along  a  road  be¬ 
tween  hills  in  autumn. 


294.  TWO  GIRLS  READING  BOOKS 

Brilliant  impression. 


S  295.  A  LADY  AND  A  GIRL  HOLDING  A  WRITING  BOX 

b 

Standing  on  the  veranda  of  a  house  by  a  mountain  stream. 


^  296.  AN  OIRAN  AND  A  KAMURO  IN  A  GARDEN 

Looking  at  a  crow  on  the  branch  of  a  tree. 


297.  AFTER  THE  BATH 

A  young  woman  in  a  bath  robe  walking  out  to  a  veranda 
where  a  red  rug  is  spread  and  a  round  fan  is  lying. 


1 


298.  AFTER  THE  BATH 

Another  impression. 


Different  color. 


Slightly  toned. 


HARUMITSU 

299.  TALL  WOMAN  WALKING  UNDER  AN  UMBRELLA  ON 
.yy  THE  SEASHORE 

I  V 

Hashira-e.  Signed :  Harumitsu  ga.  About  1782. 


Second  Evening 


TANAKA  MASUNOBU 

(Worked  c.  1740-1770) 

300.  THE  LETTER=READING  INCIDENT  FROM  CHUSHINQURA 

Hashira-e.  Signed:  Masunobu.  About  1770. 

YAMAMOTO  YOSHINOBU 

(Worked  c.  1760-1770) 

301.  TWO  GIRLS  IN  A  PARLOR 

One  is  seated  by  a  hibachi ;  the  other  is  holding  a  letter. 
Chuban.  Signed.  Yoshinobu  ga.  Publisher :  Maruko.  About 
1768. 


KORYUSAI 

(Worked  c.  1767-1786) 


302.  NEW  YEAR’S  DAY  SCENE 

A  girl  brings  a  small  stand  laden  with  New  Year’s  symbols 
to  a  youth  who  is  attired  in  the  formal  kamishimo  and  is 
seated  in  a  parlor  before  the  tokonoma  (picture  alcove). 

Chuban.  Signed:  Koryu  ga.  About  1769. 


Second  Evening 


303.  GI.  PROBITY 


M 


A  girl  seated  on  a  window  ledge  conversing  with  a  youth 
seated  on  the  floor  before  her,  with  an  open  book  in  his 
hand.  One  of  the  series  of  The  Five  Cardinal  Virtues. 
Clinban.  Signed :  Koryusai  ga.  About  1769. 


304.  RETURNING  SAILS  AT  FUKAGAWA 

A  young  samurai  with  his  face  masked  helping  two  young 
^  women  aboard  a  pleasure  boat.  One  of  the  series,  Edo 

Mitate  Mu  Tamagawa.  Edo  Resemblances  to  the  Six 
Tama  rivers. 

Chuban.  Signed :  Koryusai  ga.  About  1769. 


305.  SAN  GATSU,  THE  THIRD  MONTH 

A  woman  restraining  a  man  who  reaches  out  toward  the 
v>  edibles  set  out  for  the  Hina  Matsuri  (Doll  Festival). 

One  of  the  series,  Furyu  Ju-ni  Settsu. 

Chuban.  Signed:  Koryusai  ga.  About  1769. 


306.  ROKU  GATSU,  THE  SIXTH  MONTH 


\  Is 


A  girl  walking  with  her  lover,  attended  by  a  servant  bearing 
a  lantern.  Same  series  as  the  preceding. 


307.  PRINCE  GENJI  AND  THE  LADY  AOI 
Illustration  of  the  Kiri-tsubo  tale  in  the  Genji  Mono- 
gatari.  One  of  the  series,  Yatsushi  Genji,  Transformed 
Genji. 

Chuban.  Signed  :  Koryusai  ga.  About  1770. 

308.  GENJI  AND  MURASAKI  GATHERING  MAPLE 

BRANCHES 

^  O 

Illustration  of  the  Momiji-ga  incident  from  the  Genji 
Monogatari.  One  of  the  series,  Furyu  Ryaku  Genji. 
Koban.  Signed:  Koryusai  ga.  About  1770. 


309.  SOTOBA  KOMACHI 


A  girl  seated  on  a  bench  in  a  garden  gives  a  light  from 
her  pipe  to  a  youth  standing  beside  her.  One  of  the  series, 
Furyu  Nana  Komachi. 

Chuban.  Signed :  Koryu  ga.  About  1770. 


Second  Evening 


310.  AKI.  AUTUMN 

Two  girls  seated  on  the  veranda  of  a  country  house  looking 
at  gay-colored  maple  leaves  floating  down  a  small  stream. 
Chuban.  Signed :  Koryii  ga.  About  1769. 


7.0 


311.  AKI.  AUTUMN 

A  youth  talking  to  two  women  seated  on  a  veranda,  one  .  £) 

of  whom  turns  away  from  him  to  look  at  a  kitten.  Series: 

Furyu  Sato  no  Shiki.  Stylish  pictures  of  the  four  sea¬ 
sons  in  a  village. 

Koban.  Signed :  Koryii  ga.  About  1770. 

312.  A  MOCK  WRESTLING  MATCH  BY  GEISHA 

Series :  Seiro  Geika  Niwaka  Kyogen  Zukushi. 

Chuban.  Signed:  Koryii  ga.  About  1775. 


313.  BOY  PLAYING  A  FLUTE 

Chuban.  Signed :  Koryusai  ga.  About  1775. 


w 


S" 


314.  SHIKIDO  TORIKUMI 

A  Mock  Marriage  Ceremony  in  the  Yoshiwara. 
Yoko-e.  Signed:  Koryusai  ga.  About  1775. 


315.  ATTRACTING  HIS  ATTENTION 

A  young  man  holding  a  letter  and  turning  to  look  up  at 
a  girl  seated  on  a  balcony  above,  who  has  thrown  a  ball  at 
him. 

Hashira-e.  Signed:  Koryii  ga.  About  1772. 


KATSUIvAWA  SHUNSHO 


(B.  1726,  d.  1798) 


316.  THE  THIRD  MATSUMOTO  KOSHIRO  AS  A 

SHICHO  (NOBLEMAN’S  ATTENDANT) 

Hosoe.  Not  signed.  About  1769. 

Slightly  trimmed  at  the  left. 


0 


317.  THE  SECOND  NAKAMURA  SUKEGORO  AS  A  WRESTLER 

He  is  shown  lifting  a  bale  of  rice. 


Hosoe.  Signed:  Shunshd  ga.  About  1769. 


Second  Evening 


332.  THE  SECOND  YAMASHITA  KINSAKU  AS  AN  OIRAN 


standing  by  a  screen  and  holding  a  sake  cup. 

Hosoe.  Signed :  Shunsho  ga.  About  1773. 

Somewhat  faded  and  stained. 


333. 


THE  SECOND  YAMASHITA  KINSAKU  AS  A  WOMAN 

holding  a  biwa  (lute)  and  standing  on  a  river  bank  at 
night. 

Hosoe.  Signed :  Shunsho  ga.  About  1778. 

Fine  impression.  In  good  condition. 


334.  THE  FIRST  NAKAMURA  NAKAZO 

IN  THE  ROLE  OF  SADAKURO 


Drama  “Chushingura,”  Nakamura  theatre,  Edo,  summer  of 
1771. 

Hosoe.  Signed :  Shunsho  ga.  1771. 


Second  Evening 


335.  THE  THIRD  OTANI  HIROJI  AS  AN  OTOKODATE 

looking  down  at  an  enormous  cicada  crawling  over  his  feet. 
Hosoe.  Signed :  Shunsho  ga.  About  1780. 

336.  THE  FOURTH  MATSUMOTO  KOSHIRO 

AS  A  MAN  HOLDING  A  MIRROR 

Hosoe.  Signed:  Shunsho  go.  About  1776. 


337.  NAKAMURA  TOMIJURO  AS  A  TEA=HOUSE  WAITRESS 

Hosoe.  Signed:  Katsu  Shunsho  ga.  About  1775. 

Very  fine  impression.  Perfect  condition. 

338.  SCENE  FROM  THE  THIRD  ACT  OF  CHUSHINGURA 

Kanpei  threatening  to  kill  Sagisaka  Bannei ;  Okaru  looking 
on. 

Cliuban.  Signed :  Shunsho  ga.  About  1778. 

Late  impression. 

339.  THE  FIFTH  ICHIKAWA  DANJURO  AS  A  SAMURAI 

disguised  as  a  Buddhist  pilgrim. 

Hosoe.  Signed ' :  Katsu  Shunsho  ga.  1787  (F). 


Second  Evening 


340.  THE  FIFTH  ICHIKAWA  DANJURO 

AS  SHIBUYA  NO  KONNO  MASATOSHI 


In  this  Shibaraku  role,  Ichimura  theatre,  1791,  he  scored 
a  “great  hit.” 

Hosoe.  Signed :  Shunsho  ga. 


341. 

/ 


THE  THIRD  SEGAWA  KIKUNOJU 

AS  RYU=0  THE  DRAGON  PRINCESS 

She  stands  on  a  rock  amid  curling  waves  above  which 
rises  the  Ryu-gu  or  dragon  shrine  supposed  to  rest  upon  the 
bottom  of  the  sea.  In  the  transfiguration  scene  Kikundju 
was  very  successful.  Ichimura  theatre,  1778. 

Oban.  Signed :  Shunsho  ga. 


342.  OMI  HAKKEI 

Eight  views  of  Omi.  Complete  set  of  eight  prints,  the 
well-known  subjects  in  circular  compositions. 

^  Koban  with  black  field.  Not  signed. 


Second  Evening 


TORII  KIYONAGA 

(B.  1742,  d.  1813) 

“Ten  Views  of  Tea-houses.”  Two  prints  of  this  series. 

Chuban.  Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About 
1781.  Both  are  remarkable  early  impressions  in  the  finest 
possible  condition. 

343.  THE  HATSUTAKA  TEA=HOUSE  AT  YAGENBORI 

A  corner  of  the  building1  is  shown,  with  a  waitress  standing 
in  front  of  it  and  turning  toward  a  young  woman  who  is 
passing  by  followed  by  a  man  servant  bearing  a  bundle 
on  his  back  and  a  blue  umbrella. 

344.  THE  TAKANAWA  TEA=HOUSE 

This  is  shown  in  the  distance.  In  the  foreground  a  mother 
and  her  daughter  are  walking  hand-in-hand  over  the  sands 
at  low  tide,  and  a  young  girl  trots  along  by  their  side. 


345.  THE  SECOND  ICHIKAWA  MONNOSUKE 

IN  PRIVATE  LIFE 

He  is  seated,  talking  to  a  kamuro,  his  hand  resting  on  her 
shoulder,  while  her  mistress  stands  and  looks  down  at  them. 


Oban.  Signed:  Kiyonaga  ga.  About  1782. 
Sharp,  early  impression.  In  perfect  condition. 


> 


Second  Evening 


346.  SCENE  FROM  THE  DRAMA  “YUKI=MOTSU=TAKE 

FURISODE  GENJI” 

This  play  was  performer  at  the  Nakamura  theatre,  Edo, 
iy  Kaomise,  the  opening  of  the  winter  season,  eleventh 

month  Temmei  5,  i.  e.  December,  1785.  Nakamura 
Nakazo  at  this  performance  changed  his  stage  name  (for 
one  year  only)  to  the  sixth  Nakayama  Kojuro,  and 
appeared  as  Hatchdtsubute  no  Kiheiji,  the  lamplighter  of 
Gion  temple. 

The  third  Otani  Hiropi,  dressed  in  kamishimo  and  with 
his  face  and  body  painted  red,  played  the  role  of  Nanba 
no  Jiro  Tsunetd;  and  the  third  Ichikawa  Yaozo  appeared 
as  Agugenda.  The  scene  of  their  fight  in  the  dark,  while 
lightning  flashed  and  thunder  rolled,  was  a  great  success. 

Oban.  Signed:  Kiyonaga  ga.  December,  1785. 

In  good  condition  save  for  a  few  moth  holes. 


347.  MURASAKI  SHIKIBU  AT  ISHI YAMA=DERA 


She  is  seated  on  the  engawa  of  Ishiyama  temple  on  the 
shore  of  Lake  Biwa.  Her  elbow  rests  on  a  table  upon 
which  paper  and  a  suzuribako  (writing-box  containing 
brushes,  ink  and  an  ink-stone)  are  set  out,  and  she  is 
preparing  to  write  the  famous  classical  romance  “Genji 
Monogatari.” 

Oban.  Signed :  Kiyonaga  ga. 

A  rare  print.  In  fine  condition. 


348.  AN  ACTOR’S  BOATING  PARTY  ON  THE  SUMIDA  RIVER 


Middle  sheet  of  a  triptych,  representing  a  party  of  actors 
and  geisha  in  a  great  canopied  pleasure  boat.  The  actor, 
who  wears  a  haori  (coat)  of  black  gauze,  and  green 
hakama  (trousers)  is  the  third  Sawamura  Sojuro.  By 
his  side  sits  Iwai  Kumesaburo,  a  famous  impersonator  of 
women’s  roles  who  later  became  the  fifth  Iwai  Hanshiro. 
In  front  of  them  the  fourth  Matsumoto  Koshiro  leans  for¬ 
ward  to  listen  to  a  geisha  and  a  man  dressed  in  pale  blue. 
A  smaller  boat  with  a  woman  seated  in  it  is  coming  up 
alongside  the  large  craft. 

Oban.  Signed :  Kiyonaga  ga.  Probably  1788. 


Second  Evening 


349.  VIEWING  THE  CHERRY  FLOWERS  ON  ASUKA  HILL 

Two  women,  one  of  them  leading  a  young  girl,  are  walking 
along  the  grass-covered  summit  of  the  hill  admiring  the 
pale  pink  blossoms.  Many  small  figures  in  the  distance. 
Left-hand  sheet  of  a  triptych.  The  triptych  is  reproduced 
in  color  as  one  of  the  illustrations  to  “Japanese  Color 
Prints  and  Their  Designers”  by  Frederick  W.  Gookin: 
The  Japan  Society  of  New  York,  1913. 

Oban.  Signed :  Kiyonaga  ga. 

Fine  impression  in  perfect  condition.  The  beni  is  especially 
beautiful. 


350.  JORURNHIME  AND  HER  MAIDS 

ON  THE  VERANDA  OF  HER  DWELLING 

One  sheet  of  a  small  triptych  representing  Yoshitsune 
serenading  the  lady  Joruri.  The  story  of  their  love  af¬ 
fair  is  known  to  every  Japanese. 

Chuban.  Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About 
1788. 


Second  Evening 


351.  A  LADY  CROSSING  NIPPON  BRIDGE 

She  is  attended  by  two  maids  and  a  boy.  In  the  back¬ 
ground  a  vista  of  the  canal  with  a  row  of  fireproof  ware¬ 
houses  on  the  right  bank ;  another  bridge  in  the  middle 
distance  and  beyond  it  low  hills. 

Oban.  Signed:  Kiyonaga  ga.  Publisher :  Ei judo.  About  1788. 
Fine  impression  of  a  very  rare  print.  In  perfect  condition. 


KITAO  MASANOBU 

(B.  1761,  d.  1816) 

352.  IKEBANA  NO  SEIRAN 

Flower  Arrangement  in  Clearing  Weather.  Three  women 
grouped  on  the  engawa  of  a  house ;  peonies  in  a  flower  bas¬ 
ket  beside  them.  Series:  Shinsen  Zashiki  Hakkei.  New 
selection  of  eight  parlor  views. 

Chub  an.  Not  signed. 

Fine  impression.  Perfect  condition. 


Second  Evening 


353.  FURIN  NO  BANSHO 

The  Wind-bell  Vesper.  A  woman  showing  her  infant  son 
to  another  woman  seated  on  a  veranda.  A  wind  bell  hangs 
overhead. 

Same  series  as  the  preceding  number. 


354.  NISHIKLE  AKI  NO  TSUKI 

Brocade  of  the  Autumn  Moon.  A  woman  seated  before 
a  writing  table  on  a  balcony  in  imitation  of  Murasaki 
Shikibu  at  Ishiyama-dera.  Series:  Tokiwazu  Hakkei. 
Chuban.  Not  signed :  The  attribution  to  Kitao  Masanobu  is 
tentative.  If  by  him  it  must  be  one  of  his  earliest  works. 


355.  SEIRO  MEIKUN  JIHITSU  SHU 

Celebrated  women  of  the  green-houses  and  poems  written 
by  them.  Seven  double-page  prints,  size  15  x  20  inches,  in 
a  folding  album.  A  highly  esteemed  work. 

Signed:  Kitao  Iiissai  Masanobu.  Preface  dated  1784. 

Very  fine  impressions.  In  perfect  condition. 


356.  UTAGAWA  AND  NANASATO  OF  YOTSUMI-YA 

The  former  seated  at  the  left,  reading,  the  latter  standing 
behind  her  holding  a  poem  slip  and  a  writing  brush  while 
her  kamuro  holds  her  suzuri-bako.  Above,  Utagawa’s 
poem  on  Cherry  Blossoms  and  Nanasato’s  on  Plum  Blos¬ 
soms. 

Double  page  print,  15  x  20,  from  the  album  “ Seiro  Meikun 
Jihitsu  Shu.”  1784. 

Very  fine  impression. 


KITAO  MASAYOSHI 

(B.  1761,  d.  1824) 

357.  TWO  GROUSE  ON  A  GREEN  BANK 

BY  A  SMALL  CASCADE 

One  of  a  series  of  Birds  of  China. 

Yoko-e.  Signed:  Keisai  utsusu. 


Second  Evening 


KUBO  SHUNMAN 

(B.  1757,  d.  1820) 

358.  MERRYMAKERS 

Young  people  at  a  Tea-house  on  the  bank  of  the  Sumida- 
gawa,  playing  games  and  taking  refreshments. 

Oban  diptych.  Signed :  Shunman  g a.  Publisher :  Shoeidd. 
About  1788. 

Good  impression.  In  very  nice  condition,  colors  softly  faded. 

359.  TEMPLE  VISITORS 

Two  women  accompanied  by  a  young  man  who  gives  one 
of  them  a  light  from  his  pipe. 

Oban.  Middle  sheet  of  a  triptych.  Signed :  Shunman  ga. 
Publisher :  Eijudo.  About  1790. 

360.  GOING  TO  THE  SHRINE 

A  woman,  crossing  two  logs  placed  across  a  stream  and 
serving  as  a  bridge  on  a  path  leading  to  a  shrine,  turns 
to  look  back  at  a  farmer  who,  with  his  mother  and  his 
wife  carrying  a  baby  on  her  back,  is  following  her. 

Yoho-e.  Signed:  Shosado  Kubo  Shunman  ga. 

In  fine  condition. 


SHUNZAN 


(Worked  about  1780-1800) 

361.  MUSASHI,  CHOFU  NO  TAMAGAWA 

Women  washing  cloth  in  the  Tama  river  in  Musashi. 
Chuban.  Signed:  Shunzan  ga. 

362.  MUTSU,  CHIDORI  NO  TAMAGAWA 

A  fisherman  and  a  boy  looking  at  a  flock  of  plovers  flying 
over  the  Tama  river  in  Mutsu. 

Chuban.  Signed:  Shunzan  ga. 

363.  A  FIREFLY  COLLECTING  PARTY 

Women  and  girls  in  the  garden  of  a  great  house  on  the 
shore  of  a  lake. 

Oban  diptych ;  two  sheets  of  a  triptych,  together  with  a  modern 
reprint  of  the  three  sheets.  Signed:  Shunzan  ga.  Publisher: 
Eijudd.  About  1790. 


No.  368— YOKYA:  INDOOR  ARCHERY 


Second  Evening 


364.  SEIRO  NIWAKA  JENSEI  ASOBI 

A  niwaka  performance  by  Yoshiwara  geisha. 
Chuban.  Signed:  Shunzan  ga.  Publisher :  Ei judo. 


365.  THREE  WOMEN  ON  A  VERANDA 

One  of  them  holds  an  arrow  with  a  letter  tied  to  it. 

Oban.  Ink-print  from  key-block.  Signed :  Shunzan  ga.  Pub¬ 
lisher :  Ei  judo.  About  1788. 


0 


366.  FAIR  PILGRIMS  AT  THE  ISE  SHRINES 

Oban.  Right-hand  sheet  of  a  triptych  which  is  Shunzan' s  best 
Lj  Q  known  work.  Signed:  Shunzan  ga.  Publisher :  Ei judo.  About 

1788. 

367.  CHIGO  ASOBI  KOTO  GO  SHOGA 

Youngsters  at  play.  In  the  foreground  a  boy  is  separating 
twyo  boys  who  are  fighting  over  a  game  of  chess.  Back 
of  them  a  girl  is  removing  the  cloth  cover  from  a  koto. 
Oban.  Signed:  Katsukawa  Shunzan.  Publisher:  Mikawa-ya. 


HOSODA  EISHI 

(Worked  c.  1788-1800) 

368.  YOKYA 

Indoor  Archery.  Women  practicing  archery  in  the  parlor 
of  a  great  house  which  is  open  on  one  side  giving  a  view 
of  an  extensive  garden. 

Oban  diptych — part  of  a  triptych.  Signed:  Eishi  ga.  Pub¬ 
lisher:  Takasu.  About  1791. 

Fine  impression.  Very  good  condition. 

( Illustrated ) 

369.  FOUR  WOMEN  AND  A  MAN  EMBARKING 

ON  A  PLEASURE  BOAT 

Oban  diptych — part  of  a  triptych.  Signed:  Eishi  ga.  Pub¬ 
lisher:  Eijudd.  About  1790. 

Fine  impression.  Good  condition. 

( Illustrated ) 

370.  INK  PROOFS 

From  the  key  blocks  of  two  sheets  of  the  six  forming  a 
Mu  Tamagawa  composition.  These  show  two  women  sym¬ 
bolizing  the  Koya  Tamagawa  and  two  others,  the  Chidori 
Tamagawa. 

Oban  diptych.  Signed  :  Eishi  zu.  Publisher :  Eijudo.  About  1795. 


No.  369— FOUR  WOMEN  AND  A  MAN  EMBARKING  ON  A  PLEASURE  BOAT 


Second  Evening 


3 71.  A  PARTY  OF  MERRYMAKERS  AT  SHINAGAWA 

The  gathering  is  in  a  great  house  overlooking  Edo  Bay. 

Oban  triptych.  Signed :  Eishi  ga.  Publisher :  Eijudo.  About 
v0  1791. 

Good  impression.  In  fine  condition. 

( Illustrated ) 

372.  WAKANA  OF  CHOJI  YA  AND  HER  KAMURO 

/  Oban.  Signed:  Eishi  zu.  Publisher :  Eijudo.  About  1796. 

Y  ^  Fine  impression.  In  good  condition. 

373.  NEW  YEAR’S  VISITING  IN  THE  YOSHIWARA 

Women  of  the  quarter  calling  upon  each  other.  Right, 
Kisagawa  of  Matsuba-ya ;  middle,  Takagawa  of  Ogi-va ; 
I  left,  Tokiwazu  of  Choji-ya.  They  are  passing  a  house 

where  a  young  man  is  seated  and  being  served  with  tea. 
At  the  left  a  vista  down  a  side  street. 

Oban  triptych.  Signed :  Eishi  ga.  Publisher:  Eijudo.  About 
1792. 


374.  ASAGAO:  MORNING  GLORY 

Prince  Genji  preparing  to  paint  a  picture  of  a  convolvulus; 
women  standing  about  him.  One  of  the  Furyu  Yatsushi 
f)  Genji  series. 

Oban  triptych.  Framed.  Signed:  Eishi  ga.  Publisher:  Izumi 
ya.  About  1790. 

Faded  and  slightly  stained. 

375.  A  WOMAN  TRYING  TO  SNATCH  A  LOVE  LETTER 

FROM  ANOTHER  WOMAN 

Hashira-e.  Signed :  Eishi  ga.  Published  by  Eijudo.  Toned. 


KITAGAWA  UTAMARO 


(B.  1753,  d.  1806) 

376.  NEW  YEAR’S  DAY  IN  EDO 


A  man  and  his  wife  receiving  callers  to  whom  a  maid  is 
carrying  refreshments.  Outside  the  house  children  are 
listening  to  two  manzai  performers. 

Yoko-e.  Not  signed.  One  of  the  illustrations  in  Ehon  Waka 
Ebisu ,  published  by  Tsutaya  Juzaburo  in  1786. 


Second  Evening 


\ 


■v 


377.  A  CEREMONIAL  VISIT 

A  noble  arriving1  on  horseback  at  the  entrance  to  a  palace 
where  a  great  lord  is  seated  in  a  spacious  room  with  two 
ladies  kneeling  before  him. 

Yoko-e.  From  the  same  hook  as  the  'preceding. 


378.  A  FLOWER  ARRANGEMENT 

A  willow  stump  and  peonies  in  a  green  bronze  dish. 

Oban.  Signed :  Utamaro  hitsu. 

Three  prints  from  the  picture  book  entitled  FLTKEN-ZO,  pub¬ 
lished  by  Tsuta-ya  Juzaburo,  about  1787. 

Yoko-e,  not  signed,  hut  in  the  hook  Utamaro  is  named  as  the 
artist. 


379.  A  CHERRY  VIEWING  PARTY 

Scene  in  an  open  wood  of  scattered  pines  and  blossoming 
X  cherry  trees.  A  number  of  women,  two  girls,  and  a 

^  V  man  are  coming  forward  from  the  left  and  five  men 

grouped  upon  rugs  spread  under  a  pine  tree  are  waiting 
to  receive  them. 


380.  GOING  TO  A  PICNIC 

A  road  leading  across  a  small  stream  and  over  low  sandy 
hills  sparsely  covered  with  pines  and  blossoming  cherry 
trees.  Two  gaily  clad  women  and  two  men,  one  of  whom 
is  bald  and  blind,  walk  toward  the  right  followed  by  a 
servant  bearing  the  picnic  boxes  and  a  bottle  of  sake. 

381.  RETURNING  FROM  A  PICNIC 

Scene  on  a  road  by  the  side  of  a  river.  A  girl  who  has 
taken  too  much  sake  is  being  helped  along  by  two  com¬ 
panions.  A  young  samurai  follows,  dancing  merrily,  and 
further  back  two  porters  are  lugging  a  heavy  wooden 
tub  of  sake. 


382.  A  GIRL  WASHING  HER  HANDS 


She  is  squatting  down  by  a  chozubashi,  a  young  man 
pours  water  upon  her  hands  from  a  dipper,  and  another 
girl  holds  a  lighted  candle. 

Oban.  Sigjied:  Utamaro  ga.  About  1787. 


Second  Evening 


383.  A  MONKEY  SHOWMAN 


Exhibiting  a  monkey  in  a  house  in  the  Yoshiwara.  Double¬ 
page  picture  from  the  book  entitled:  Ehon  Waka  Ebisu, 
published  in  Edo  in  1786. 

Yoko-e.  Not  signed. 

An  exquisitely  printed  and  much  admired  print. 

In  fine  condition  save  for  some  moth  holes. 


1 


±0 


384.  AN  UKI YO=E  TRAVESTY  OF  A  FETE 

IN  A  NOBLEMAN’S  MANSION 

Commoners  are  depicted  instead  of  nobles.  Middle  sheet 
of  a  triptych  which  is  one  of  the  most  important  of  Uta¬ 
maro’s  earlier  works  as  he  was  breaking  away  from  the 
Kiyonaga  manner.  One  of  the  figures  he  introduced  in 
the  left-hand  sheet  is  that  of  the  artist  Ivitao  Masanobu. 
This  sheet  shows  a  group  of  people  in  the  foreground 
and  back  in  the  room  a  geisha  dancing  the  Flower-hat 
odori. 

Oban.  Signed:  Utamaro  ga.  About  1790. 

Fine  impression.  In  very  good  condition. 


385.  A  YOSHIWARA  BEAUTY 

Masquerading  as  Benten,  one  of  the  group  of  Seven  For¬ 
tune  Beings.  She  is  seated  before  a  shimadai,  or  stand 
bearing  a  decorative  assemblage  of  good  luck  symbols,  the 
long-lived  pine,  the  invisible  hat,  Daikoku’s  mallet,  etc., 
and  is  playing  a  biwa  (a  kind  of  lute).  Behind  her  a 
kamuro  holds  another  stand  laden  with  crystal  gems :  a 
man  is  seated  in  the  foreground  and  an  oiran  stands  at 
the  left. 

Oban.  Signed:  Utamaro  liitsu.  Publisher:  Tsuta-ya.  About 
1791. 

An  interesting  print  by  Utamaro  in  the  Kiyonaga  manner.  In 
fair  condition. 


3  0 


386.  TONASE  AND  KONAMI  BEGINNING  THE  JOURNEY  TO 
YAMASHINA 

The  incident  forming  the  eighth  act  of  the  Chushingura 
drama,  presented  realistically.  Two  young  women  typify¬ 
ing  Tonase  and  her  daughter  are  shown  leaving  Edo,  walk- 


Second  Evening 


387  388 

387.  SEIRO  SAN  BIJIN:  “THREE  GREEN  =  HOUSE  BEAUTIES.” 

An  oiran  and  two  attendants  who  are  dressed  as  actors, 
in  a  nikawa  or  burlesque  procession.  Both  have  their  heads 
covered  with  square  “caps”  of  olive-colored  gauze  with  a 
pink  border  across  their  foreheads  and  pink  ribbons  pass¬ 
ing  about  their  cheeks  and  under  their  chins.  One  is 
beating  a  dried  gourd  with  a  stick ;  the  other  is  in  the 
role  of  a  peddler  of  chasen,  i.e.  tea-whisks  used  in  pre¬ 
paring  tea  for  the  cha-no-yu  ceremony.  Kirara  (mica) 
ground. 

Oban.  Signed:  Utamaro  hit.su.  Publisher:  Tsuru-ya.  About 
1794. 

Exceptionally  fine  impression  of  a  much  admired  print.  Rarely 
found  with  the  blue  unfaded.  In  beautiful  condition.  Prints 
of  this  type  hare  fetched  very  large  prices  in  Japan  during 
the  last  year. 


[No.  386 — Continued ] 

ing  across  the  sands  on  the  shore  of  the  bay,  with  Eno- 
shima  and  Mount  Fuji  in  the  background.  One  of  the 
series  of  eleven:  Komei  Bijin  Mitate  Chushingura. 

Oban.  Signed:  Utamaro  hitsu.  Publisher:  Omi-ya.  About 
1793. 


S econd  E veiling 


388.  HANAMURASAKI  OF  TAMA=YA 

Large  head  and  bust  portrait  of  the  beauty  who  is  point¬ 
ing  a  brush  in  her  mouth  preparatory  to  writing  a  letter 
on  a  roll  of  paper  held  in  her  left  hand.  Yellow  ground. 
Series:  Seiro  Nana  Komaehi,  “Seven  Green-house  Ko- 
machi”  or  modern  representatives  of  the  ninth  century 
poetess  Ono  no  Komaehi. 

Oban.  Signed:  Shomei  ( true  brush )  Utamaro  liitsu.  Pub¬ 
lisher:  Izumi-ya.  About  1798. 

An  excellent  example  of  Utamaro’s  celebrated  “ big  head  por¬ 
traits.” 

( Illustrated ) 

FUJINOBU 

389.  WOMAN  IN  A  WINDOW 

Looking  at  a  passing  Fan-mount  Vendor. 

Hashira-e.  Signed:  Fujinobu  ga. 

Good  impression  but  has  many  moth  holes  badly  patched. 


KATSUSHIKA  HOKUSAI 

(B.  1760,  d.  1849) 

FUGAKU  SAN-JU-ROKIvEI 

Thirty-six  Views  of  Fuji.  Complete  set  of  forty-six  prints  and 
two  duplicates. 

Yofio-e.  Signed:  Zen  Hokusai  litsu. 

As  this  series  is  so  well  known  detailed  descriptions  are  not  here 
given. 

390.  VIEW  OF  FUJI  FROM  NIHON  BASHI,  EDO 


391.  VIEW  FROM  THE  MITSUI  SHOPS 

IN  SURUGA  STREET,  EDO 

c0 

392.  VIEW  FROM  RYOGOKU  BRIDGE,  EDO  > 


393.  VIEW  FROM  HONGUWANJI  TEMPLE,  ASAKUSA,  EDO  S 

394.  VIEW  FROM  TSUKUDA  ISLAND,  EDO  BAY  $0 


Late  edition.  Unusual  coloring. 


iv 


Second  Evening 


^  395.  VIEW  FROM  SURUGA=DAI,  EDO 

396.  VIEW  FROM  SHIMO  MEGURO,  EDO 

397.  VIEW  FROM  KOISHIKAWA,  EDO 

On  a  clear  morning  after  snow. 

398.  VIEW  FROM  THE  SAZAIDO  OF  THE  SHRINE 

?  0  OF  THE  FIVE=HUNDRED  RAKAN,  EDO 

*5  399.  FUJI  SEEN  BENEATH  MANNEN  BRIDGE, 

FUKAGAWA,  EDO 


400.  VIEW  FROM  GOTENYAMA 

Good  impression. 

/  401.  FUJI  SEEN  ACROSS  THE  YOSHIWARA,  EDO 

Good  impression. 


402.  VIEW  FROM  THE  VILLAGE  OF  SEKIYA 

403.  VIEW  FROM  SENJU 

Men  fishing  at  a  weir. 

Fine  impression.  Good  condition. 


404.  VIEW  FROM  THE  FUJNVIEW  TEA=HOUSE 

AT  YOSHIDA 

405.  HONJO  TATSUKAWA 

View  from  a  lumber  yard  on  the  Tatsu  river,  Honjo  dis¬ 
trict,  Edo. 


406.  VIEW  FROM  ENOSHIMA 

Fine  impression.  Good,  condition. 


/  407.  VIEW  FROM  HAKONE  LAKE 

V 

-  408.  VIEW  FROM  MISHIMA  PASS 

409.  VIEW  FROM  THE  TOTOMI  MOUNTAINS 

410.  VIEW  FROM  KANAYA  ON  THE  TOKAIDO 

V  1 


Second  Evening 


411.  VIEW  FROM  THE  SEA  OFF  NARUMI, 

PROVINCE  OF  KAZUSA 

412.  VIEW  FROM  USHIBORI,  PROVINCE  OF  HITACHI  3,  2.  — 

Late  impression.  Unusual  coloring. 

413.  VIEW  FROM  TODA  NO  URA  I  ^ 

414.  VIEW  FROM  TODA  NO  URA  j  v  -- 

Another  impression.  Late  edition.  Unusual  coloring. 

5~° 

415.  VIEW  FROM  THE  ROUND  PINE  AT  AOYAMA 

Good  impression. 

416.  VIEW  FROM  HODOGAYA  ON  THE  TOKAIDO 

Brilliant  impression.  In  good  condition. 


417.  VIEW  FROM  NAKABARA 

Good  impression.  The  footbridge  on  path  printed  in  a  deep- 
toned  red-brown. 

418.  FUJI  REFLECTED  IN  LAKE  MISAKA 

419.  VIEW  OF  FUJI  FROM  THE  SEA  AT  TAGO  NO  URA  /  l • 

yo 

420.  VIEW  FROM  EJIRI  ON  A  WINDY  DAY  V  ^ 

Late  impression. 


421.  VIEW  FROM  THE  TAMA  RIVER, 

PROVINCE  OF  MUSASHI 

ifO 

422.  VIEW  FROM  THE  TEA=FIELDS  OF  KATAKURA  j  7  — 

£0 

423.  VIEW  FROM  SEVEN=RI  BEACH  j  — 

424.  VIEW  FROM  UMESAWA  IN  SAGAMI  /  Q 

425.  VIEW  FROM  THE  INUME  PASS  - 

5-O 

426.  VIEW  FROM  LAKE  SUWA  j  7  — 

Late  impression.  Strong  coloring. 

427.  VIEW  FROM  THE  WATER  WHEEL  AT  ONDEN 


Second  Evening 


428.  VIEW  FROM  FUJIMI  =  H ARA  IN  OWARI 

Good  impression. 


0 


jo 


/ 


o 


429.  VIEW  FROM  ONO  SHINDEN 

430.  PILGRIMS  ASCENDING  FUJI 

Late  impression.  Unusual  coloring. 


431.  VIEW  FROM  KAJIKASAWA 

432.  BACK  VIEW  OF  FUJI  FROM  THE  MINOBU  RIVER 

■■'  '  r  AA  ^  ) 

433.  VIEW  FROM  ISAWA  AT  DAWN 

^  434.  KANAGAWA 

Fuji  seen  beneath  a  wave  of  the  sea. 

Late  impression. 


435.  KANAGAWA 

I  \  0  Another  impression.  Still  later. 


436.  SEN  PU  KAI  SEN 


'V  I  & 

N 


The  mountain  in  fair  weather  with  gentle  breeze. 

Late  edition.  The  mountain  not  in  red  as  usual,  but  in  green 
and  white  with  dark  blue  outline.  Blue  sky  with  only  a  few 
clouds  at  the  top. 


437.  THE  CONE  OF  FUJI;  THUNDERSTORM  BELOW 

y 

SHUNSEN 


(Worked  in  first  Half  of  nineteenth  century) 

438.  FAGGOT  GATHERERS  RESTING  BY  THE  SEA 

They  are  seated  on  bundles  of  faggots ;  one  is  looking  at 
/  their  carabao  oxen  lying  near  them ;  the  other  is  talking 

to  a  woman  with  a  baby  in  her  arms. 

Yoko-e.  Signed:  Kashosai  Shunsen  ga.  Publisher :  Izumi  ya. 
About  1800. 


439.  SHIOKUMI  DIPPING  SEA=WATER  FOR  MAKING  SALT 

Yoko-e.  Signed :  Kashosai  Shunsen  ga.  Publisher:  Sano-ki. 


Second  Evenina 

t- 


440.  AWABI  SHELL  DIVERS  AT  ISE 

They  are  upon  a  crag  jutting  over  the  sea,  and  one  of 
them  holds  out  a  shell  to  two  women  visitors. 

Yoko-e.  Not  signed.  About  1800. 

441.  SAIQYO  HOSHI  VIEWING  FUJI 

Yoko-e.  Signed :  Shuns  en  changed  to  Shunko.  Publisher : 
Sano-ki. 

442.  FISHING  FOR  TAI 

Three  women  in  a  fishing  boat  on  Edo  bay.  One  of  them 
has  caught  a  large  tai  (red  snapper)  in  a  net  and  is 
hauling  it  in. 

Yoko-e.  Signed:  Shunko  ga. 

443.  USHIWAKA  SERENADING  JORUR1HIME  r\ 

Imitated  by  women. 

Yoko-e.  Signed:  Kashosai  Shunsen  ga.  Publisher:  Sano-ki. 

ITOGETSU 

444.  THE  MONKEY  BRIDGE  *7  _1 

Small  vertical  print.  Signed  :  Hogetsu  (?  Kagetsu). 

BUNSEI 

445.  KANAN  HASSHO 

Two  prints  of  the  series,  (a)  View  of  the  prosperous 
fishing  village  of  Tamaki;  and  (b)  Fishing  at  Kawazuko. 

Lateral  koban.  Signed :  Bunsei. 

ANDO  HIROSHIGE 

(B.  1797,  d.  1858) 

446.  SURIMONO  CALENDAR  FOR  1837 

A  man  and  a  boy  dancing  the  Tori-oi  (chasing  birds) 
odori,  around  a  kadomatsu  or  pine  tree  set  up  as  a  New 
Year’s  emblem.  The  numerals  for  the  dai  and  sho,  the 
long  and  short  months  of  the  Cock  Year,  1837,  are  printed 
in  bronze  upon  the  garments  of  the  dancers.  Adapted  from 
a  design  by  Hanabusa  Itcho. 

Square  surimono.  Signed:  Oju  ( by  request )  Hiroshige  ga. 
Slightly  toned. 


Second  Evening 


i "  ^ 

\v, 

n 


447.  BAMBOO  IN  MOONLIGHT 

Lateral  format  6%<rl8%.  Signed,  in  gauffrage,  Hiroshige 
ga.  Issued  by  a  paper  manufacturer  in  a  book  of  specimens 
of  the  paper  called  hoshi. 

448.  RYOGOKU  NATSU  NO  TSUKI 

Autumn  noon  at  Ryogoku  bridge.  Series :  Edo  Meisho 
Uta  no  Nagame.  Poem  Views  of  Famous  Sights  in  Edo. 
Yoko-e.  Signed  :  Hiroshige  ga.  Publisher :  Mary-ya  Jinpachi. 
About  1840. 

Good  impression. 

449.  YOROI  NO  WATASHI:  YOROI  FERRY 

Series :  Edo  Sho-kei.  Best  Views  of  Edo. 

Yoko-e.  Signed :  Hiroshige  ga.  Published  by  Kawaguchi 
Shozo. 

Good  impression,  but  damaged,  a  piece  being  torn  from  each 
of  the  upper  corners. 

450.  MOONLIGHT  AT  TSUKUDA 

A  sheet  of  a  triptych  of  the  Furyu  Genji  Series. 

Oban.  Signed:  Hiroshige  hitsu.  Engraver,  Taki.  Hated, 
eleventh  month  Ox  Year,  1853. 

451.  THE  EIGHT  SCENES  OF  OMI  COMBINED  IN  ONE 

Long  surimono  printed  in  blues  and  pale  sahnon  pink.  Signed : 
Hiroshige  ga. 


\ 


V*  V 

V’\i\ 


XL 


Second  Evening 


452.  LANDSCAPE 

/ 

A  flat,  sparsely  wooded  plain,  with  a  broad  river  in  the 
foreground  and  blue  mountains  in  the  distance. 

Long  surimono.  Signed :  Hiroshige. 

453.  THE  TWELVE  MONTHS  OF  THE  YEAR 

A  complete  set  of  twelve  designs  emblematic  of  the  months, 
which  in  old  Japan  were  numbered,  not  named. 

1.  Ducks  and  pine  branch. 

2.  A  street  vendor  of  tea-whisks  for  the  Cha-no-yu  cere¬ 

mony. 

3.  A  large  carp. 

4.  Asazuma  standing  in  a  boat. 

5.  Woman  walking  under  an  umbrella. 

6.  Siberian  iris  and  cuckoo. 

7.  Bon  dancing. 

8.  Fishing  with  flares. 

9.  Woman  standing  by  a  street  lantern. 

10.  A  stag  and  tall  Suzuki  grass. 

11.  A  large  white  radish  (daikon)  and  fugu  fish. 

12.  A  monkey  showman  fording  a  stream. 

Narrow  'panels  15  x  3,  mounted  upon  two  sheets.  Signed:  Hiro¬ 
shige  ga.  Publisher:  Matsumara  Yahei. 

Good  impressions.  A  few  moth  holes,  but  quite  immaculate. 
Extremely  rare. 

454.  TWO  TOKAIDO  VIEWS 

(a)  Fording  the  Abekawa  at  Fuchu.  Lateral  print  from  /  0 
a  quarter  block  set.  (b)  Rain  Storm  at  Ejiri.  One  of 
the  half  block  set  published  by  Tsuta-ya  Kichizo. 

455.  KAZUSA,  SHIRASATO  KAIHIN 

View  of  the  sea  from  Shirasato  beach.  Series:  Shokoku  y  ___ 
Meisho  Harimaze. 

Lateral  print,  5 y2  x  9.  Not  signed.  Rare. 

456.  KANAZAWA  HAKKEI 

Eight  scenes  of  Kanazawa.  Complete  set  of  eight  quarter 
block  lateral  prints. 

Signed:  Hiroshige  ga. 

Fine  impressions.  Moth  holes  in  each  sheet. 


Second  Evening 


457.  OMI  HAKKEI 

Ei^ht  scenes  of  Omi.  Complete  set  of  quarter-block  fan- 
shaped  designs  on  two  yoko-e  sheets  unsevered. 

Signed :  Hiroshige  ga. 

Beautiful  impression.  In  fine  condition. 


TRIPTYCHS 

Three  of  the  rare  Toto  Meisho  series  of  oban  triptychs  published 
by  Tsuta-ya  Kichizo  about  1841. 

Signed:  Oju  (by  request)  Ichiryusai  Hiroshige  hitsu. 

458.  ASUKAYAMA  JENZU 

Complete  picture  of  the  view  from  Asuka  hill. 

In  good  condition.  Framed. 


> 


459.  KAMEIDO  UMEYASHIKI  JENZU 

Bird’s-eye  view  of  the  Plum  Garden  at  Ivameido. 
In  fine  condition.  Framed. 


460. 


SUMIDAGAWA  JENZU  SETCHU 

Bird’s-eye  view  of  the  Sumida  river  in  snow. 
Fine  impression.  In  good  condition.  Framed. 


MEISHO  EDO  HYAKKEI 


“Famous  Sights  of  Edo,  One  Hundred  Views.”  Thirty  subjects 
out  of  118  in  the  set. 

Oban.  Each  print  signed :  Hiroshige  ga,  and  bearing  a  seal  date 
either  1856,  1857,  or  1858.  Published  by  Eikichi,  whose  shop 
was  named  Uo-ya. 

461.  NIHON  BASHI  YUKI  HARE 

Nippon  bridge  in  clear  weather  after  a  snowfall. 


1 


5 


462.  NIHON  BASHI  TORI  ICHOME  RYAKU  ZU 

Rough  sketch  of  a  scene  in  the  “First  Ward”  Nippon 
Bridge  district.  Street  scene  with  a  number  of  geisha  in 
the  foreground  walking  under  a  huge  umbrella. 

Good  impression,  but  not  in  perfect  condition,  and  margins 
trimmed  off. 


Second  Evening 


463.  KONAGNGAWA  QO=HON  MATSU 

View  of  the  Konagi  river,  and  the  Go-lion  pine  tree,  its 
limbs  propped  up  with  long  poles. 

Good  impression. 

464.  SURUGA  CHO 

View  down  the  street  showing  the  Mitsui  dry-goods  shops  S 
on  either  hand,  and  in  the  background  the  white  cone  of 
Fuji  lifting  above  a  stratum  of  clouds. 

465.  AYASE=GAWA  KANEGA=FUCHI 

The  Ayase  river,  a  name  given  to  the  Sumida  in  that  S 
part  of  its  course  traversing  the  Ivanega-fuchi  district. 

A  few  drops  of  rain  are  falling  and  a  cuckoo  flies  over¬ 
head. 

466.  MASAKI  HEN  YORI  SUIJIN  MORI  UCHIKAWA 

SEKIYA  NO  SATO  WO  MIRU  ZU 

A  glimpse  of  Suijin  temple  grove  and  the  village  of  Sekiya  i 
in  the  Uchikawa  district  from  the  window  of  a  house  near 
Masaki. 

Fine  impression. 

467.  MEGURO  JIJI  GA  CHAYA  - 

View  across  the  fields  from  the  old  man’s  tea-house  by 
the  roadside  at  Meguro. 

468.  SAKAI  NO  WATASHI 

The  Watashi  ferry.  Early  impressions  do  not  have  the 
dark  blue  streak  across  the  water  which  appears  to  have 
been  introduced  in  an  attempt  to  give  greater  strength 
to  the  composition. 


469.  KYOBASHI  TAKEGASHI 

Kyo  bridge  and  bamboo  lumber  stacks. 

Late  impression  in  unusual  coloring.  Margins  trimmed  off. 


I* 


470.  SHIBAURA  NO  FUKEI 

View  of  Shibaura  on  the  shore  of  Edo  bay. 
Margins  trimmed  off. 


0 


Second  Evening 


471.  SH1BAURA  NO  FUKEI 

V 


Ink  impression  from  the  key  block. 

472.  NIJIKU  WATASHI 

View  of  Nijiku  ferry. 
Margins  trimmed  off. 


,  - o  473.  HORIYE  NEKOZANE 

r'J  /  View  of  the  village  with  Fuji  san  in  the  distance. 

Margins  trimmed  off. 


474.  MITSUMATA  WAKARE  NO  ZU 

The  meeting  place  of  three  forks  of  the  river. 

Good  impression  save  that  the  purple  stratum  of  cloud  is  too 
dark.  Later  impressions  are  usually  spoiled  by  printing  a  dark 
blue  streak  across  the  water. 


475.  HORIKIRI  NO  HANA  SHOBU 

^  The  iris  garden  at  Horikiri. 

Very  good  impression.  Margins  trimmed. 


476.  AYASE=GAWA  KANE=GA=FUCHI 


The  Pool  of  the  Bell,  Ayase  river.  A  man  poling  a  raft ; 
and  projecting  overhead  a  great  branch  of  an  ocho  (mi¬ 
mosa)  tree  with  pink  blossoms. 

Good  impression ,  margins  trimmed. 


477.  YOSHIWARA  NIHON  TSUTSUMI 


The  road  to  the  Yoshiwara  along  the  Nihon  embankment 
of  the  Sumida  river. 

Impression  with  the  embankment  printed  in  black  instead  of 
the  usual  gray. 


478.  KAMEIDO  TENJIN  KEIDAI 


-0 

V 


In  the  grounds  of  the  Tenjin  shrine  at  Kameido.  The 
famous  print  showing  the  drum  bridge  and  great  racemes 
of  purple  wistaria  blossoms  hanging  in  the  foreground. 

Good  impression.  Margins  trimmed. 


Second  Evening 


479.  RYOGOKU  HANABI 

Fireworks  at  Rvogoku  bridge.  Dated  1858.  S 

Unusually  fine  impression.  Margins  trimmed. 


480.  MAMA  NO  MOM1JI  TEKONA  NO  YOSHIRO, 

TSUGI  =  H  ASHI  ^0 

Maples  at  Mama,  the  Tekona  shrine,  and  Tsugi  bridge.  '| 

A  view  over  the  Edo  plain,  with  the  mama  no  irie  (inlet 
of  the  sea)  and  the  little  Tekona  shrine  in  the  foreground, 
seen  from  a  ravine  spanned  by  a  branch  of  a  maple  tree 
in  full  autumnal  foliage.  Dated  1857. 


481.  TORA=NO=MON  SOTO  AOEZAKA 

The  Aoi  ascent  outside  the  Tiger  gate.  Night  scene. 
Sellers  of  singing  mushi  (cicadas)  carrying  their  stalls 
of  little  cages  along  the  road  ;  and  in  the  foreground  two 
almost  nude  men  carrying  lanterns.  Dated  1857. 

Fine  impression. 


Second  Evening 


V 


V 


O' 


'U 


482.  BIKUNNBASHI  SETCHU 

The  Nun’s  bridge  seen  through  falling  snow. 

483.  BIKUNNBASHI  SETCHU 

Another  impression  with  dark  sky. 


Dated  1858. 


484.  ATAGO=SH ITA  YABU=KOJI 


View  of  Yabu-koji,  a  street  at  the  foot  of  Atago  hill, 
bordering  a  canal  lined  on  its  further  side  by  bamboos,  the 
heavily  snow-laden  branches  of  which  project  across  the 
sky.  A  large  building  stands  at  the  left  and  swallows 
are  flitting  about.  Dated  1857. 


485.  O  HASHI  ATAKE  NO  YUDACHI 

The  great  bridge  in  a  summer  rain-storm.  Through  the 
pelting  drops  the  further  bank  of  the  Sumida  is  dimly 
seen.  On  the  stream  a  man  is  poling  a  raft:  wayfarers 
are  scurrying  across  the  bridge. 

Very  fine  impression  of  one  of  the  greatest  designs  of  this 
series.  The  red  labels  have  been  toned  dozen  with  chemicals 
and  the  margins  are  trimmed  close. 


Second  Evening 


486.  ONMAYA  GASHI 

^  iew  of  the  river  bank  and  the  honorable  stables  where 
the  Shogun’s  horses  were  kept.  Ferry  boat  crossing. 
Fine  impression  of  a  much-admired  print. 

487.  UKICHI  AKIBA  NO  KEIDAI 

Yasu  pond  inside  the  ground  of  the  Akiba  shrine.  A 
scene  gay  with  maple  trees  in  full  autumnal  foliage.  The 
reflections  in  the  water  are  a  feature  unusual  in  Japanese 
art. 

488.  FUKAGAWA  KIBA 

Lumber  yard  at  Fukagawa. 

Late  impression.  The  shy  printed  a  deep  blue-black.  The 
red  labels  toned  down  with  chemicals. 

489.  YUSHIMA  TENJIN  ZAKA  UE  CHOBO 

View  from  the  summit  of  the  ascent  to  the  Yushima  Tenjin 
shrine  overlooking  Inokashira  pond,  Shinobazu.  Snow 
scene.  Dated  1856. 

Late  impression.  The  glow  in  the  sky  at  the  horizon  olive- 
green  instead  of  red  as  in  the  earlier  editions.  Slightly  trimmed 
on  all  four  sides. 

490.  MEGURO,  TAIKO  BASHI  YLMil  NO  OKA 

Taiko  bridge  and  the  Yu-hi  mound  at  Meguro,  seen 
through  falling  snow.  Dated  1857. 

Fine  impression  of  a  much-admired  print. 

491.  FUKAGAWA  SUSAKI  JU=MAN  TSUBO 

Bird’s-eye  view  over  the  great  Susaki  plain,  Fukagawa 
district,  covered  with  a  mantle  of  snow.  A  famous  design 
with  a  great  eagle  poised  in  the  air  and  looking  down  at 
a  tub  floating  in  the  water  of  Edo  bay.  Dated  1857. 
First  edition.  Fine  impression,  with  lacquer  applied  by  hand 
to  the  beak  and  talons  of  the  eagle. 

492.  OJI  SHOZOKU  ENOKI  OMISOKA  NO  KITSUNE  BI 

Fox-fl  res  under  the  Enoki  trees  (Celtis  Wildenowiana,  the 
Chinese  tree  lotus)  at  Oji  on  New  Year’s  Eve.  The  legend 
is  that  the  foxes  assemble  under  the  trees  on  the  last  night 
of  the  year  each  carrying  a  flare  in  its  mouth.  Dated  1857. 


Second  Evening 


493.  ASAKUSA  KIRI  BATAKE  UCHU  YU  KEI 

The  Kiri  (Paulownia  imperialis)  grove  at  Asakusa  in 
rain  at  dusk.  Signed  “Second  generation  Hiroshige”  and 
dated  1859.  It  is  supposed  that  it  was  designed  to  take 
the  place  of  the  “Asakusa  Kiri  Batake”  print  by  Hiro¬ 
shige  I  that  forms  a  part  of  the  series  as  at  first  issued. 

This  impression  has  been  “faked"  in  an  attempt  to  make  it 
pass  for  a  great  rarity.  It  is  an  example  of  a  novel  sort  of 
revamping  that  has  been  rather  extensively  carried  on  in  Japan 
during  two  or  three  years  past.  Full  details  of  all  the  processes 
employed  are  not  available,  but  in  general  it  is  known  that 
chemicals  are  used  to  clean  the  prints  and  to  bleach  the  paper 
if  it  has  been  toned  by  exposure  to  light.  This  usually  but 
not  always  changes  the  texture  of  the  paper  and  hardens  it. 
Incidentally,  some  of  the  colors,  more  especially  the  beni  red 
and  the  yellow,  are  removed  either  partially  or  entirely.  Then 
newly  engraved  color  blocks  are  used  to  restore  the  color.  As 
in  most  instances  only  one  impression  of  any  particular  print 
is  available  for  treatment,  the  process  is  somewhat  expensive. 
Sometimes  only  a  single  color  is  freshened  up;  or  a  ground  of 
yellow  pigment,  or  of  kirara  {mica)  is  added.  The  results 
vary  widely  in  deceptive  quality.  When  soiled  spots  may  be 
seen  through  the  newly  printed  color,  the  fraud  is  not  difficult 
to  detect.  But  in  other  cases  the  work  has  been  very  skilfully 
done;  and  print  buyers  need  to  be  on  their  guard. 

In  this  print  the  deep  blue  of  slightly  greenish  hue  is  a 
recent  addition.  A  bit  of  the  original  blue  may  be  seen  in 
the  lower  right-hand  corner.  Apparently  the  red  of  the  labels 
is  what  remains  of  the  original  very  bright  color  after  the 
application  of  the  chemical  bath.  The  purple  used  for  some 
of  the  foliage  of  the  trees  in  the  foreground  so  nearly  disap¬ 
peared  in  the  process  that  it  shows  only  as  grayish  drab  in 
the  light  streak  belozc  the  dark  blue. 


Second  Evening 


HIROSHIGE  AND  EISEN 

KISOKAIDO  ROKU-JU-KU  TSUGI 

The  sixty-nine  post  stations  of  the  Kisokaido,  the  inland  highway 
between  Edo  and  Kyoto.  Thirty-three  prints  of  the  set  of  seventy 
and  several  duplicates 

Yoko-e.  The  publication  was  begun  by  T  akeuchi,  whose  seal 
was  placed  upon  some  of  the  prints  of  the  early  editions  and 
was  continued  by  Iseri  who  appears  to  have  taken  over  the 
blocks  and  issued  all  of  the  prints  of  the  later  editions. 

494.  ITABASHI  NO  EKI 

Itabashi  station.  View  of  the  road  through  the  village. 
By  Eisen. 

Late  edition.  Without  signature  or  publishers. 

Margins  trimmed  close. 

495.  WARABI  NO  EKI,  TADOGAWA  WATASHI 

Ferry  over  the  Tado  river  at  Warabi.  By  Eisen. 

Early  edition.  Not  signed.  Publisher:  T akeuchi.  Seal  “ Ho-ei .” 

496.  URAWA  SHUKU  ASAMAYAMA  EMBO 

Distant  view  of  Mount  Asama  from  Urawa  Station.  By 
Eisen. 

Early  edition  but  not  the  first.  The  signature  of  Eisen  removed. 
Good  impression  but  not  in  perfect  condition. 

497.  OMIYA  FUJI  NO  ENKEI 

Distant  view  of  Fuji  from  Omiya.  By  Eisen. 

Not  first  edition.  Without  the  signature  “ Keisai ”  which  ap¬ 
pears  in  the  earliest  impressions. 

498.  HONJO  EKI.  SHINRYUGAWA  WATASHI  BA 

The  crossing  of  the  Shinryu  river  at  Honjo  station.  By 
Eisen. 

Early  edition.  Not  signed. 

Fin  e  imp  res  s  io  n . 

499.  HONJO  EKI 

Later  impression,  not  so  carefully  printed. 

500.  SHINMACHI 

The  road  on  the  bank  of  a  curving  river;  blue  mountains 
in  the  distance,  against  a  golden  sky. 

First  edition.  Signed:  Hiroshige  ga. 

Good  impression.  Not  in  perfect  condition. 


Second  Evening 


.0 


V 


v 

V 


501.  ITAHANA 

Snow  scene.  Wayfarers  passing  along  the  road  lined  by 
pine  trees.  A  bridge  across  a  stream  and  houses  of  the 
village  at  the  left.  By  Eisen. 

Presumably  second  edition.  Not  signed. 

Fine  impression. 


502.  ITAHANA 

Later  impression.  Without  the  gray  sky  arid  the  green  shadow 
on  the  snow  in  the  foreground. 

503.  ANNAKA 


A  daimyo  cortege  just  coming  into  view  on  the  road 
climbing  upward  between  two  hills. 

Late  edition.  Coloring  different  from  that  of  the  first  edition. 
Signed :  Hiroshige  ga. 


504.  SAKAMOTO 

The  village  street  with  a  narrow  stream  running  through 
the  center.  A  great  round-topped  hill  in  the  background, 
b  Op  inions  differ  as  to  whether  this  print  is  by  Hiroshige 

or  by  Eisen.  It  resembles  the  work  of  the  latter,  but  the 
inscription  appears  to  be  in  Hiroshige’s  writing. 

Not  first  edition. 


505.  KARUIZAWA 

Night  scene  with  great  fires  of  burning  brush,  at  one  of 
which  a  man  bends  over  to  light  his  pipe.  Another  man 
gives  a  light  from  his  pipe  to  a  traveller  on  horseback 
who  carries,  attached  to  his  saddle,  an  Odawara  lantern, 
the  rays  from  which  illuminate  the  upper  part  of  his  body. 

First  edition.  Signed:  Hiroshige  ga.  Seal:  Tokaido.  Pub¬ 
lished  by  Takeuchi  but  the  lantern  bears  the  name  Iseri. 
Superb  impression.  In  perfect  condition  save  margins  trimmed 
close. 


506.  KUTSUKAKE 


A  man  leads  two  heavily  laden  carabao  in  a  driving  rain¬ 
storm.  Other  wayfarers  bend  over  to  breast  the  wind. 
By  Eisen. 

Second  edition,  without  the  artist's  signature,  which  appears 
in  the  earlier  impressions. 


Second  Evening 


507.  OIWAKE  JIKU  ASAMAYAMA  CHOBO 

Distant  view  of  the  shaft  of  Asamayama  from  Oiwake. 
By  E  isen. 

Late  edition.  Earlier  impressions  show  the  travellers  in  a 
torrent  of  rain. 

Poor  impression.  Register  imperfect. 


508.  SHION ADA 

The  rest  house  by  a  great  tree  on  the  bank  of  the  Chikuma 
river.  A  group  of  nearly  nude  porters  resting  under  the 
shelter  and  three  others  who  have  had  a  dip  in  the  stream, 
are  approaching.  A  golden  sunset  glow  suffuses  the  sky. 
First  edition.  Signed :  Hiroshige  ga.  Publisher:  I  seri. 

Good  impression.  In  fine  condition. 


509.  YAWATA 

A  winding  stream  spanned  by  a  footbridge  across  which 
farmers  are  crossing;  a  rest  house  on  the  high  bank  on  |  Q 
the  further  side;  beyond  it  a  bamboo  grove  and  distant 
mountains. 

First  edition.  Signed:  Hiroshige  ga.  Publisher:  I  seri. 

Very  fine  impression.  Margins  trimmed  close  and  a  small  piece 
torn  from  one  corner  at  the  foot. 


lo  - 


510.  MOCH1ZUKI 

Moonlight  view.  Porters  toiling  uphill  along  the  road 
bordered  with  great  cryptomerias. 

* 

First  edition.  Signed :  Hiroshige  ga.  Publisher :  I  seri.  O /a 

Fine  impression. 


511.  NAGAKUBO 

A  station  at  the  foot  of  Yatsu-ga-taku.  Shadowy  forms 
of  people  crossing  a  bridge  over  a  wide  river  on  a  moon¬ 
light  evening. 

First  edition.  Signed:  Hiroshige  ga.  Publisher :  Iseri. 

Good  impression.  Margins  trimmed  close. 


3  \ 


✓ 


512.  WADA 


The  highest  mountain  pass  on  the  Kisokaido,  which  here 
winds  between  two  snow-clad  peaks. 

First  edition.  Signed  :  Hiroshige  ga.  Publisher :  Iseri. 

Good  impression.  Xot  in  very  good  condition;  margins  and 
something  more  trimmed  off. 


\ 


Second  Evening 


513.  SHIMA  NO  SUWA 

A  station  by  Lake  Suwa,  celebrated  for  its  hot  baths. 
View  of  the  inn  with  a  party  of  travellers  having  a  meal, 
and  at  the  left  a  bath  house  with  a  man  bathing  in  a 
large  tub. 

Edition  uncertain.  Signed:  Hiroshige  ga.  Publisher:  Iseri. 


514.  SHIOJIRI  TOGE  SUWA  NO  KOSUI  HIBO 

The  frozen  Lake  Suwa  from  the  Shiojiri  pass.  By  Eisen. 
Second  edition.  Without  the  signature  of  Eisen  which  appears 
on  the  first  impression,  but  with  the  red  Hoeido  seal  of  Takeuchi. 


515.  SEMBA 

A  man  poling  a  boat  laden  with  faggots,  and  another 
man  poling  a  raft  along  a  river  with  grassy  banks  and 
overhanging  willows  with  branches  waving  in  a  breeze. 
The  full  moon  shines  through  a  film  of  blue-gray  cloud 
that  covers  most  of  the  sky. 

First  edition.  Signed  :  Hiroshige  ga.  Publisher :  Iseri. 

This  impression,  which  fetched  $210  at  the  Metzgar  sale  in 
November,  1916,  is  another  example  of  the  revamped  prints 
mentioned  in  the  description  of  Lot  493.  The  soft  blue  in 
the  clouds,  sky,  and  water,  which  makes  it  supremely  beautiful, 
is  apparently  a  modern  addition.  The  paper  has  not  been 
hardened  but  remains  quite  soft  and  delightful  to  the  touch. 


Second  Evening 


516.  MOTOYAMA 

Travellers  resting  by  a  fire  on  the  roadside  where  a 
great  pine  tree  that  has  been  blown  over  by  a  gale  is 
propped  up  with  a  trestle. 

Edition  uncertain.  Signed:  Hiroshige  ga.  Publisher:  Iseri. 

517.  ATSUKAWA 

Travellers  resting  at  a  large  inn  on  the  mountain  side; 
a  snow-clad  peak  in  the  distance. 

First  edition.  Signed:  Eisen  ga.  Publisher :  Takeuchi. 

Seals :  Takeuchi  and  Hoeido. 

Superb  impression.  In  'flawless  condition. 


518.  MIYANOKOSHI 

Famous  moonlight  scene  with  figures  crossing  a  narrow 
bridge  in  the  foreground  and  ghostly  forms  of  trees  and 
houses  on  the  bank  of  the  Kiso  river,  showing  in  silhouette 
through  a  fog  hanging  over  the  water. 

First  edition.  Signed:  Hiroshige  ga.  Publisher:  Iseri. 

Good  impression.  In  fine  condition. 


519.  FUKUSHIMA 

The  barrier  gate  and  guard  house  at  the  entrance  to  the 
town. 

First  edition.  Signed:  Hiroshige  ga.  Publisher:  Iseri. 

Superb  impression.  In  flazeless  condition. 


Second  Evening 


520.  FUKUSHIMA 

First  edition.  Another  fine  impression  hut  damaged ,  a  small 
section  in  the  center  at  the  top  having  been  torn  and  replaced 
hy  an  inserted  piece  of  paper  painted  to  resemble  the  missing 
part  of  the  design. 


521.  AGEMATSU 


6^ 


The  Ono  waterfall  faced  by  a  projectng  ledge  of  rock 
called  the  Nezame  no  Toko,  or  “Awakening  from  bed”  plat¬ 
form;  and  on  a  bridge  over  the  rapids  of  the  Iviso  river  two 
travellers  viewing  the  scene. 

Edition  uncertain.  Signed :  Hiroshige  ga.  Publisher :  Iseri. 


G> 

l/ 


522.  SUWARA 

A  much-admired  rain  scene.  Porters  rushing  for  shelter 
at  the  rest  house  where  several  travellers  are  congre¬ 
gated ;  and  in  the  middle  distance  two  travellers,  one  of 
them  on  horseback,  plodding  along  through  the  down¬ 
pour. 

First  edition.  Signed:  Hiroshige  ga.  Publisher:  Iseri. 

Fine  impression.  Perfect  condition  except  margins  trimmed 
close. 


523.  NOJIRI  INAGAWA  BASHI  ENKEI 

View  of  the  cascades  of  the  Ina  river  in  a  rocky  gorge 
spanned  by  a  bridge  over  which  the  highway  leads.  By 
V  Eisen. 

Second  edition,  without  Eisen'1  s  signature.  Publisher :  Takeuchi. 
Poor  impression. 


0 


524.  SANTONO 

A  field  of  waving  Suzuki  grass  in  the  foreground:  at  the 
right  the  path  to  a  Shinto  shrine  leads  up  a  low  hill 
crowned  with  two  torii  and  blossoming  plum  trees. 

First  edition.  Signed:  Hiroshige  ga.  Publisher:  Iseri. 


525.  OCHIAI 

A  daimyo  cortege  coming  down  the  slope  from  the  village 
and  crossing  a  narrow  stream  in  the  foreground.  A  blue 
mountain  range  in  the  background. 

First  edition.  Signed:  Hiroshige  ga.  Publisher:  Iseri. 

Good  impression.  Somewhat  trimmed  all  around. 


Second  Evening 


526.  01 

Two  travellers  on  horseback  being  led  by  betto  on  foot, 
across  the  Ju-san  toge  or  thirteen  passes  in  a  snow¬ 
storm.  They  are  shown  at  the  summit  of  the  Shichi-hon- 
matzu  zaka,  the  Seven-pines  hill. 

First  edition.  Signed :  Hiroshige  get.  Publisher-.  Iseri. 

Good  impression.  Slightly  soiled. 


527.  HOSOKUTE 

View  of  the  village  seen  through  two  tall  pine  trees  that 
lean  toward  each  other  across  the  road  on  a  hillside. 

Late  edition.  Signed:  Hiroshige  ga. 

Poor  impression. 

528.  MIEJI 

In  the  foreground  at  the  right  two  camellia  trees  in  full 
bloom,  and  a  clump  of  tall  bamboos ;  and,  on  the  hillside, 
a  farmer  and  his  wife  stopped  on  the  way  home  from 
work  to  show  a  wandering  Buddhist  monk  the  road  to 
the  village,  the  roofs  of  which  are  seen  on  the  horizon. 
Probably  second  edition.  Signed:  Hiroshige  ga. 


529.  MIEJI 

Another  impression,  later  printing,  the  low  ground  vn  dark 
grays,  and  a  deep  red  glow  in  the  sky. 


530.  MUSA 

People  crossing  a  bridge  formed  by  two  boats  placed  end 
to  end  and  fastened  bv  stakes. 

First  edition.  Signed:  Hiroshige  ga.  Publisher:  Iseiri. 

Fine  impression.  Good  condition. 


531.  MUSA 

Another  impression.  Second  or  third  edition. 


532.  MUSA 

Still  another  impression.  Same  edition  as  the  preceding  lot. 


Second  Evening 


KOBAYASHI  KIYOCHIKA 

In  Japan,  the  prints  by  this  artist,  who  died  in  1881,  have  many 
admirers,  and  when  offered  for  sale  they  fetch  good  prices.  All  the 
prints  here  listed  are  signed  Ivobayashi  Kiyochika. 

533.  DISTANT  VIEW  OF  FUJI 

FROM  THE  HAKONE  MOUNTAINS 

"  Dated  1877. 


534.  A  FIRE  IN  HISAMATSU  STREET 

One  of  Kiyochika’s  best  known  works.  Dated  1877. 


535.  STREET  SCENES 

(a)  Hiki-fune  street,  Koume,  in  snow,  dated  1879;  (b) 

z?  s  ^  _ 

Night  Scene,  Suruga  street,  Tokyo;  (c)  Night  Scene, 

Ginza  district,  Tokyo. 


536.  FIREFLIES  FLITTING  OVER  THE  TEA=WATER  CANAL 

Boat  lighted  by  lanterns  in  tbe  foreground. 


b 


b 


\ 


537.  MOONLIGHT  AT  KOUME 

538.  KAKIGARA  STREET  ON  THE  RIVER  BANK:  TWILIGHT 

539.  DISTANT  VIEW  OF  RYOGOKU  BRIDGE 

FROM  YANAGI  BRIDGE 

540.  GATHERING  NORI  AT  SHINAGAWA 

541.  FARM  BUILDINGS:  MOONLIGHT 

542.  KUDANZAKA,  EVENING 

Dated  1880. 

543.  TWO  TOKYO  VIEWS 

(a)  Evening  View,  Asakusa.  (b)  Shinobazu  Pond  in 
Winter.  Both  dated  1880. 


544.  TWO  TOKYO  VIEWS 

r  (a)  The  Gohon  Pine  Tree;  threatening  weather.  (b) 

Honcho  Street,  a  snowy  evening.  Dated  1880. 


Second  Evening 


b  v 

545.  RYOGOKU  BRIDGE 

Dated  1880. 

546.  NIGHT  RAIN  AT  YANAGIWARA 

Dated  1881. 

547.  KURUMA  AT  ASAKUSA,  EVENING  7  Sj 

Dated  1881. 

548.  SHOPPING  IN  THE  EVENING  AT  ASAKUSA  7  ^ 

Dated  1881. 

y© 

549.  NIGHT  RAIN  AT  ASAKUSA  BRIDGE  )  7  ; _ 

550.  AN  INTERRUPTED  FEAST 

An  eagle  on  the  branch  of  a  great  tree,  disturbed  bv  a 
hunter  carrying  a  gun,  lets  go  its  hold  upon  a  captured 
fox,  and  it  drops  into  the  river  below.  Diptych. 


THIRD  EVENING  SESSION 


WEDNESDAY,  MAY  8,  1918 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  8.15  O'CLOCK 


PRINT  BLOCKS 

551.  BLOCK  FOR  TWO  HOSOE  PRINTS 

In  black  only,  for  hand-coloring1  (urushi-e);  “Oiran  and 
Kamuro”  by  Okumura  Masanobu,  and  “A  Wakashu”  by 
Nishimura  Shigenaga. 

Publisher :  Okumura  Masanobu.  Size,  121/2  x  16%  inches.  In 
very  good  condition. 


552.  BLOCK  FOR  A^OSOE  PRINT 

In  black  only.  Engraved  with  a  figure  of  the  actor  Tsu 
gawa  Kamon  in  a  female  role.  No  artist  named. 

Size,  1 0%  x  0I4  inches. 


553.  KEY  BLOCK  FOR  A  PRINT  BY  HOKUSAI 

Scene  from  the  second  act  of  Chushingura. 
Size,  91/4  101/4  inches. 


554.  KEY  BLOCK  FOR  A  PRINT  BY  HIROSHIGE 

“Fireworks  at  Ryogoku  Bridge,  Series  Edo  Meisho.”  On 
the  other  side  the  key  design  of  another  print,  “A  la¬ 
borer  bv  an  unnamed  artist  has  been  engraved,  but  has 
been  partially  planed  off. 

Size,  9  x  13%  inches. 


Third  Evening 


555.  KEY  BLOCK  FOR  A  PRINT  BY  KUNIYASU 

And  on  the  other  side  the  key  pattern  of  a  design  of  two 
figures,  the  block  mortised  and  plugged  with  a  small  piece 
of  wood  upon  which  the  signature  of  Utamaro  is  en¬ 
graved.  Shows  how  blocks  were  revamped.  The  figures 
are  not  bv  Utamaro. 

556.  KEY  BLOCK  FOR  TWO  PRINTS  OF  THE  H ALF=BLOCK 

TOKAIDO  SET  BY  HIROSHIGE,  PUBLISHED  BY  EZAKI 

And,  on  the  other  side,  engraved  with  the  key  pattern 
of  a  figure  print  by  Kunisada,  signed  Toyokuni,  and  two 
censors’  seals,  which  indicate  a  date  somewhere  between 
1842  and  1853. 

Size,  15/rlO  inches. 

Accompanied  by  an  impression  of  “ View  of  Kinryusan  temple 
by  Hiroshige,  which  was  printed  from  this  block. 

557.  MODERN  RE=ENGRAVING  OF  A  PRINT  BY  HARUNOBU 

Women  at  the  Sea  Shore.  Also  one  of  the  blocks  from 
which  it  was  printed;  the  key  design  engraved  on  one 
side,  and  the  pattern  for  one  of  the  color  impressions  on 
the  other. 

Size  of  block,  11% /r  9  inches. 

558.  BLOCK  FOR  A  MODERN  RE=ENGRAVING 

OF  A  PRINT  BY  KIYONAGA 

The  key  design  engraved  on  one  side,  and  the  pattern 
for  one  of  the  color  impressions  on  the  other. 

Size,  13%  x  9%  inches. 

559  BLOCK  FOR  A  MODERN  RE=ENGRAVING 

OF  A  PRINT  BY  EISHI 

Key  design  only. 

Size,  14  9%  inches. 

SUZUKI HARUNOBU 

(B.  about  1730,  d.  1710) 

560.  AN  UNEXPECTED  VISITOR 

A  young  samurai  with  his  face  covered  by  a  mask  calls 
to  see  a  girl  and  finds  with  her  another  samurai  who,  to 
hide  his  identity,  crawls  under  the  kotatsu  (covered  fire 

box). 

Lateral  chuban.  Not  signed.  About  176/. 


Third  Evening 


561.  THE  SPYING  MOTHER 

Young  lovers  caught  bv  an  angry  mother  who  peers  into 
the  room  where  they  are  seated  with  arms  about  each 
other. 

Lateral  chuban.  Not  signed.  About  1767. 


562.  FUMIZUK1,  THE  SEVENTH  MONTH 

A  girl  standing  on  a  veranda.  Above  her  head,  pro-  _  ^ 

jected  against  a  bank  of  fog,  is  a  bamboo  branch  decorated 
with  poem  slips  for  the  Tanabata  festival,  seventh  day  of 
seventh  month. 

Narrow  vertical  panel.  Signed-.  Harunobu  ga.  About  1765. 

563.  FOOTBALL  PLAYERS 

A  young  man  and  a  girl  playing  football  in  a  court  built 
of  bamboo  poles.  /  2- 

Chuban.  Not  signed.  About  1766. 

Late  impression.  In  poor  condition. 


564.  BOYS  FIGHTING  OVER  A  GAME  OF  SUGOROKU 

Chuban.  Signed-.  Suzuki  Harunobu  ga.  About  1767. 
Fine  impression.  Colors  as  when  first  printed. 


565.  SETTSU:  SNOW 

An  oiran  in  a  snowstorm  attended  by  a  man  servant  hold¬ 
ing  a  yellow  umbrella  over  her,  and  by  her  two  kamuro 
walking  under  another  umbrella.  Series:  Furyu  Settsu- 
gek-ka.  Stylish  Snow,  Moon,  Flower. 

Chuban.  Signed:  Suzuki  Harunobu  ga.  About  1769. 

Good  impression.  In  fair  condition. 


566.  TSUKI:  MOON 

A  young  woman  seated  in  a  room  looking  out  at  the  moon 
through  the  open  shoji.  A  girl  holding  a  samisen  stands 
by  her  side.  Same  series  as  the  preceding  lot. 

Chuban.  Signed:  Harunobu  ga.  About  1769. 


Third  Evening 


567.  A  BREEZY  DAY  BY  THE  SEA 

Two  young  women  on  the  sands  on  a  breezy  day,  watch¬ 
ing  the  curling  waves.  Above  is  an  ode  reciting  the  power 
of  the  waves  to  wear  away  the  rocks. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1769. 

Superb  impression.  In  fine  condition. 


568.  THE  MOON  GAZER 

A  young  woman  standing  in  a  room  open  toward  the 
garden,  is  gazing  at  the  full  moon  shining  above  a  cloud 
that  spans  the  sky. 

Cliuban.  Signed:  Harunobu  ga.  About  1769. 


569.  NOBLE  LOVERS 

A  young  nobleman  and  a  court  lady  seated  in  a  close 
embrace. 

Lateral  chuban.  Xot  signed.  About  1766. 

Fine  impression.  In  perfect  condition. 


Third  Evening 


570.  AN  EXCHANGE 

A  mother  taking  her  infant  son  from  another  woman,  and 
at  the  same  time  handing  her  a  letter. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  1767. 

Late  impression.  Fair  condition. 

571.  THE  MOONLIT  WAVES 

A  woman  standing  in  a  house  by  the  sea  and  turning  to 
look  through  the  open  shoji  while  another  woman,  seated 
bv  her  side,  fans  the  fire  in  a  hibachi  to  boil  water  in  a 
tea-kettle.  Ode  above: 

When  we  count  the  moonlit  waves 
We  may  see  that  this  is  the  middle  of  autumn. 
Cliuban.  Signed:  Harunobu  ga.  About  1768. 


FURYU  ENSHOKU  MANUEMON 

“Stylish  Love  Adventures  of  Manuemon.”  Four  prints  from  the 
series. 

Lateral  chuban.  Not  signed.  1768. 

572.  THE  APPARITION  OF  TWO  NOTED  BEAUTIES 

Figures  of  Osen  of  the  tea-house  at  Ivasamori  temple  and 
Ofuji  of  the  tooth-brush  shop  at  Kinryusan  temple,  ap¬ 
pearing  on  a  white  cloud  to  a  man  seated  in  a  cryptomeria 
grove  near  a  torii.  The  text  indicates  that  the  figure  of 
the  man  is  a  self-portrait  of  the  artist. 

573.  REFRESHMENT  AT  SHINAGAWA 

Manuemon  seated  in  a  house  by  the  sea,  where  a  geisha 
is  playing  a  samisen  and  a  maid  is  offering  him  a  cup  of 
sake. 

574.  VISITING  HIS  LADY  LOVE 

Manuemon  calling  upon  a  young  woman  is  received  by 
her  in  a  room  open  upon  one  side  giving  a  view  of  the 
garden  and  a  wing  of  the  house. 

Fine  impression.  In  perfect  condition. 


575.  A  BOATING  PARTY  ON  THE  RIVER 


Third  Evening 


ISODA  KORYUSAI 

(Worked  c.  1767-1786) 

576.  VERY  TALL  YOUNG  WOMAN  IN  KOMUSO  ATTIRE 

Hashira-e.  Signed:  Koryusai  ga.  About  1769. 

Fine  impression.  Fair  condition. 

( Illustrated ) 


n 


577.  YOUNG  WOMAN  STANDING  ON  A  VERANDA 

H ashira-e.  Signed:  Koryu  ga.  About  1770. 


578.  GIRL  ASLEEP 

Dreaming  of  a  Walk  with  her  Lover  in  a  Snowstorm. 
"2. 0  H asliira-e.  Signed  :  Koryusai  ga.  About  1770. 


579.  THE  LETTER=READING  INCIDENT 

FROM  CHUSHINGURA 

I  F  ^  H ashira-e.  Signed:  Koryusai  ga.  About  1770. 

580.  A  YOUNG  FALCONER  AND  ATTENDANT 

g'O  In  a  field  near  Mount  Fuji. 

J  H ashira-e.  Signed:  Koryusai  zu.  About  1770. 


Vo 


581.  TWO  TALL  GIRLS 

Under  a  willow  tree  in  a  gale  in  spring. 
Hashira-e.  Signed:  Koryusai  ga.  About  1771. 

( Illustrated ) 


582.  IDENTIFYING  HIM 


|V 


A  woman  holding  a  mirror  -so  as  to  disclose  the  features  of 
her  lover,  who  is  disguised  as  a  komuso. 

Hashira-e.  Signed:  Koryu  ga.  About  1772. 


583.  AN  OIRAN  WALKING  IN  SNOW 

A  man  servant  holds  an  umbrella  over  her. 
Hashira-e.  Signed:  Koryusai  zu.  About  1773. 


584.  THREE  WOMEN  OF  CHOJUYA  READING  A  LETTER 

Hashira.  Signed:  Koryu  ga.  About  1776. 


Mswpfta 5 


581 


575 


Third  Evening 


)1 

585.  A  TALL  WAITRESS  AT  AN  ARCHERY  GALLERY 

Carrying  a  cup  of  tea  to  a  customer 

Hashira-e.  Signed :  Koryusai  za.  About  1788. 

586.  CHOZEN  OF  CHOJLYA 

Standing  with  her  arm  about  her  kamuro. 

Hashira-e.  Signed :  Koryusai  ga.  About  1788. 

TORI I  KIYONAGA 

(B.  1742,  d.  1818) 

587.  OHAN  AND  CHOEMON 

Eloping  to  commit  suicide  in  the  Katsura  river. 
Hashira-e.  Signed :  Kiyonaga  ga.  Publisher:  Eijudo.  About 
1781. 

588.  TWO  TALL  WOMEN 

Hashira-e.  Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About 
1782. 

L/ 

589.  TWO  GEISHA  AT  A  PARTY 

One  is  standing,  the  other  seated  holding  a  cup  of  sake. 
Hasliira-e.  Signed:  Kiyonaga  ga.  About  1782. 

590.  THE  PROW  OF  A  PLEASURE  BOAT 

Long  surimono  with  many  odes  inscribed. 

Signed:  Kiyonaga  ga.  Dated  1785,  summer. 

591.  DOMESTIC  OCCUPATIONS 

Women  in  the  courtyard  of  a  house  by  the  Sumida  river, 
engaged  in  washing  and  drying  cloth. 

Oban  triptych.  Signed:  Kiyonaga  ga.  Publisher:  Tsuta-ya 
Zuzaburo.  About  1792. 

Very  fine  impression.  Immaculate  condition. 

( Illustrated ) 

L)  0  0 

592.  BOATING  PARTY  UNDER  RYOGOKU  BRIDGE 

Oban  triptych.  Signed:  Kiyonaga  ga.  About  1785. 

Fine  impression.  Slightly  but  very  evenly  faded,  and  not  quite 
immaculate,  but  generally  in  good  condition. 

( Illustrated ) 

No.  591— DOMESTIC  OCCUPATIONS 


No.  592— BOATING  PARTY  UNDER  RYOGOKU  BRIDGE 


Third  Evening 


SHUNCHO 


(Worked  c.  1770-1796) 

593.  A  VISIT  TO  THE  ROKU  AMIDA  SHRINE 

Two  women  and  a  young  man  on  their  way  to  the  shrine 
across  the  fields.  The  man  carries  a  bottle  of  sake,  a 
bunch  of  persimmons,  and  a  bag  of  other  edibles. 

Chuban.  Signed :  Sliuncho  ga.  Publisher:  Yama-mori.  About 

1791. 


jrO 


594.  GROUP  OF  WOMEN  AT  A  PARTY 

Right-hand  sheet  of  a  triptych. 

Oban.  Signed :  Sliunclid  ga.  Publisher:  Iseji.  About  1791. 


^5 


595.  GROUP  OF  FOUR  WOMEN 

One  of  them  holds  a  young  boy.  Left-hand  sheet  of 
a  triptych,  perhaps  the  one  of  which  the  preceding  lot 
forms  a  part. 

Oban.  Signed:  Sliuncho  ga.  Publisher:  Iseji.  About  1791. 


2.  0 


596.  NATSU  OMO:  SUMMER,  I  THINK 

A  man  seated  under  a  kaya  (mosquito  net  canopy),  a 
woman  standing  outside  and  a  maid  waiting  in  a  door-  j  — * 

way  behind  her. 

Chuban.  Signed:  Sliuncho  ga.  About  1791. 

597.  NOGIYO  MANSAKU  DEKI  IKI  NO  ZU 

Harvesting  a  good  crop.  In  the  foreground  a  holiday 
group ;  in  the  background  farmers  harvesting  and  threshing 
rice.  One  sheet  of  a  triptych. 

Oban.  Signed:  Sliuncho  ga.  About  1790. 

Not  in  good  condition. 


598.  MIYA  MAIRI  NO  ZU 

Taking  a  girl  child  to  a  Shinto  shrine  for  the  naming 
ceremony.  —  ^ 

Oban.  Signed:  Sliuncho  ga. 


About  1791. 


Third  Evening 


599.  TAKASHIMA=YA  OHISA 

Large  head  and  bust  portrait  of  the  popular  tea-house 
waitress  shown  reflected  in  a  mirror.  Mica  ground. 

Oban.  Signed :  Shuncho  ga.  Publisher:  T sum  ya.  About 
1793. 

Superb  impression.  In  fine  condition. 


600.  STANDING  FIGURES  OF  A  MAN  AND  WOMAN 

Hashira-e.  Signed:  Shuncho  ga.  Publisher:  Ixvatoya. 


601.  WOMEN  VIEWING  GAKU  (FRAMED  PICTURES) 

AT  A  SHINTO  SHRINE 

Hashira-e.  Framed.  Signed:  Shuncho  ga.  Publisher:  Izumi 
ya.  Aboiit  1788. 


602.  PROCESSION  OF  YOSHIWARA  WOMEN 

Representing  the  five  festival  days. 

Oban.  Three  sheets  of  a  set  of  five,  framed  as  a  triptych. 
Signed:  Shuncho  ga.  Publisher:  Izumi-ya.  About  1792. 

603.  NEW  YEAR’S  DAY  SCENE 

Girls  playing  Hanetsuki,  i.  e.,  Battledore  and  shuttlecock. 
Oban  diptych.  Signed:  Shuncho  ga.  About  1786. 

Fine  impression.  Perfect  condition. 

( Illustrated ) 


No.  603— NEW  YEAR’S  DAY  SCENE 


Third  Evening 


604.  TALL  YOUNG  WOMAN 


Standing  on  the  river  bank  at  Mimeguri. 
Hashira-e.  Signed :  Shunclio  ga.  Publisher :  Mori. 
1787.  In  excellent  condition. 


About 


SHUN YE  I 


i 


(Worked  c.  1775-1790) 

605.  NAKAMURA  RIKO  AS  A  TALL  WOMAN 

She  stands  by  a  bucket  of  clams,  with  a  litter  of  clams 
on  the  floor  at  her  feet. 

Hosoe.  Signed:  Shunko  ga.  About  1778. 


)  > 


A 


606.  THE  THIRD  ICHIKAWA  VAOZO  AS  AN  OTOKODATE 

Hosoe.  Signed:  Shunko  ga.  About  1780. 

607.  THE  THIRD  SEGAWA  KIKUNOJO  AS  AN  OIRAN 

Hosoe.  Signed:  Shunko  ga.  About  1781. 


2- 


608.  THE  FOURTH  IWAI  HANSHIRO  AS  SOGA  NO  GORO 

D  rama  “Ivoi  no  \  osu  ga  Kanagaki  Soga.”  Iehimura 
theatre,  1789. 

Hosoe.  Signed :  Shunko  ga. 


609.  OTANI  TOKUJI  AS  GIHEI  GUARDING  THE  CHEST 

Drama,  Chushingura. 

Hosoe.  Signed :  Katsukawa  Shunko  ga. 


610.  NEW  YEAR’S  CELEBRATION  BY  ACTORS 

^  The  second  Ichikawa  Monnosuke  and  three  other  actors 

>  ^  attired  as  women,  stand  beside  a  kadomatsu. 

Oban.  Part  of  a  diptych  or  triptych.  Signed:  Shunko  ga. 
About  1788. 


611.  SCENE  FROM  A  DRAMA 


The  fourth  Iwai  Hanshiro  as  a  woman  holding  an  infant ; 
Sakata  Hangoro  as  a  man  holding  an  umbrella;  the  third 
Ichikawa  Yaozd  as  a  man  seated  on  the  ground. 

Oban.  Signed:  Shunko  ga.  About  1789. 


Third  Evening 


SHUNYEI 


(B.  1768,  d.  1819) 

612.  THE  FIFTH  ICHIKAWA  DANJURO 

AS  KUDOZAEMON  SUKETSUNE 

Drama  “Keisei  Natori  Soga.”  Kiri  Theatre,  1788. 
Hosoe.  Signed :  Shunyei  ga. 


613.  THE  FOURTH  IWAI  HANSHIRO 

AS  KEHAIZAKA  NO  SHOSHO 

Kiri  theatre,  1788. 

Hosoe.  A  sheet  from  the  same  triptych  as  the  preceding  lot. 


614.  THE  FOURTH  IWAI  HANSHIRO  IN  THE  SHOSA 

OF  THE  SEVEN  CHANGES 

Kiri  theatre,  Edo,  1787. 

Oban.  Signed:  Shunyei  ga.  Contemporary  inscription  in  red 
“ Shield  henge  {seven  changes)  Iwai  Hanshiro.” 


' 1 


615.  THE  FIFTH  ICHIKAWA  DANJURO  AS  TOJU  SAMA  YO 

An  otokodate  standing  by  a  river  at  night.  ' 

Hosoe.  Signed:  Shunyei  ga.  Publisher:  Yama-jo.  Inscribed 
by  hand  “ Topi  sama .” 


616.  SCENE  FROM  A  DRAMA 

The  second  Ichikawa  Monnosuke  as  a  man  in  dishevelled 
raiment  talking  to  a  woman,  impersonated  by  Kosagawa 
Tsuneyo. 

Hosoe  diptych.  Signed:  Shunyei  ga.  Publisher:  Tsuruya. 
About  1790. 


617.  THE  ACTOR  ARASHI  TOMOEMON 

Standing  figure. 

Oban.  Signed:  Shunyei  ga.  Publisher:  Iicato-ya. 

1794. 


About 


618.  PREPARING  FOR  A  CHA=NO=YU  CEREMONY 

Long  surimono.  Signed:  Shunyei  ga. 

{Illustrated) 


^ 0 


Third  Evening 


UTAGAWA  KUNIMASA 

(Died  1810) 

619.  UNIDENTIFIED  ACTOR 

Large  head  and  bust  portrait. 

Oban.  Signed :  Kunimasa  ga. 

UTAGAWA  TOYOKUNI 

(B.  1769,  d.  1825) 


. . . .  1  ”■ ""  '  1  a i 


620.  TAKASHIMA=YA  OHISA 

Portrait  of  the  popular  waitress  Ohisa  of  the  Takashima 
tea-house.  She  holds  in  one  hand  a  bowl  of  tea  on  a 
black  saucer,  and  in  the  other  an  uchiwa  bearing  the  mon 
(badge)  of  Takashima-ya.  Her  kimono  is  of  pink  gauze 
through  which  her  arms  and  shoulder  are  faintly  visible. 
Though  the  color  is  beautifully  soft  and  harmonious  the 
three  tones  of  beni  are  quite  as  when  printed.  Dull  yellow 
ground.  A  highly  important  and  remarkable  print  by 
Toyokuni,  in  the  style  of  Utamaro  but  showing  also  some¬ 
thing  of  that  of  Eishi.  Extremely  rare. 

Oban.  Signed :  Toyokuni  ga.  Publisher:  Izumi-ya.  About 
1794. 


Third  Evening 


621.  THE  EBISU=YA  DRY  GOODS  SHOP 

A  corner  of  the  building  and  women  passing  by. 

Oban.  Right-hand  sheet  of  a  triptych.  Signed :  Toyokuni  ga. 
Publisher:  Izumiya.  About  1793. 

622.  HOLIDAY  MAKERS 

On  Shinagawa  beach  at  low  tide.  Right-hand  sheet  of 
a  well-known  triptych. 

Oban.  Signed:  Toyokuni  ga.  Publisher:  Enomoto  Kichibei. 
About  1790. 

In  good  condition,  but  the  impression  not  ichi  ban.  The  gray 
of  the  beach  and  the  blue  of  the  sky  above  the  horizon  are 
lighter  in  tone  than  in  the  best  impressions. 


YAKUSHA  BUTAI  NO  SUGATA-YE 

“Figures  of  actors  on  the  Stage. ”  Four  prints  of  Toyokuni’s 
finest  series  of  actor  portraits. 

Oban.  Signed:  Toyokuni  ga.  Publisher :  Izumi-ya.  About 
1793-1796.  All  in  fine  condition. 

623.  THE  THIRD  SEGAWA  KIKUNOJO 

A  noted  actor  of  onna-gata,  i.  e.,  woman’s  roles.  Gray 
ground. 


624.  UNIDENTIFIED  ACTOR  OF  THE  ICHIKAWA 

LINE  (HOUSE=NAME  TAJIMUYA) 

In  the  role  of  Fuya  Banzaemon.  Gray  ground. 


625.  THE  THIRD  ICHIKAWA  YAOZO 

A  distinguished  actor  who  was  born  in  17  47  and  died 
in  1818.  Ground,  kirara  (mica)  over  gray. 


626.  TWO  FAMOUS  ACTORS 

Yamashita  lvinsaku  as  a  woman 
brella,  Ichikawa  Ebizo  (the  fifth 
seated  at  her  feet.  Gray  ground. 


holding  an  open  um- 
I) an j  uro)  as  a  man 


627.  TOSHIWASURI  JOCHU  KYOGEN  NO  ZU 

Picture  of  a  “Forgetting  the  old  year”  farce. 

Oban.  Right-hand  sheet  of  a  triptych.  Signed:  Toyokuni  ga. 
Publisher :  Izumi-ya.  About  1798. 


D 


Third  Evening 


628.  HINA  MATSURI 

Two  sheets  of  a  triptych  representing  a  party  of  women 
celebrating  the  Doll  Festival  on  the  roof  of  a  great  house 
in  a  garden  where  many  cherry  trees  are  in  bloom. 

Oban  diptych.  Signed :  ToyoJcuni  ga. 

629.  PROCESSION  OF  ACTORS  CROSSING  A  BRIDGE 

Oban  diptych,  two  sheets  of  a  triptych.  Signed:  ToyoJcuni  ga. 
Published  by  Eijudo. 

UTAGAWA  TOYOHIRO 

(B.  1763,  d.  1828) 

630.  FAIR  VISITORS  TO  MIOHOJI  TEMPLE 

Oban.  Right-hand  sheet  of  a  pentaptych  by  ToyoJcuni  and 
Toyohiro.  This  sheet  signed  Toyoliiro  ga.  About  1799. 

631.  FAIR  VISITORS  TO  MIOHOJI 

Another  sheet  of  the  same  composition.  V 

Signed :  T oyohiro  ga. 

632.  NI  GATSU,  THE  SECOND  MONTH 

A  man  writing  at  a  low  table.  Women  preparing  to  make 
flower  arrangements. 

Oban  triptych.  One  of  a  series  of  twelve  by  ToyoJcuni  and 
Toyohiro.  TJiis  signed:  Toyohiro  ga.  PublisJier:  Yamada-ya. 
About  1799. 

633.  A  DAIMYO  PROCESSION  IMITATED  BY  WOMEN 

Four  small  vertical  prints,  a  part  of  a  composition  upon 
eleven  sheets. 

EacJi  signed:  ToyoJiiro  ga. 

634.  UENO  BANSHO 

The  vesper  bell  at  Ueno.  Series,  Edo  Hokkei. 

YoJco-e.  Signed :  ToyoJiiro  ga. 

Fine  impression.  Not  in  perfect  condition. 

635.  RYOGOKU  BASHI  YUSHO 

The  evening  glow  at  Ryogoku  bridge.  Same  series  as  the 
preceding  lot. 


Third  Evening 


636.  SIBERIAN  IRIS  AND  MACKEREL 

Wide  vertical  panel.  Signed :  Toyohira  ga. 

Very  fine  modern  reproduction  of  an  extremely  rare  surimono. 

637.  ASAHINA  PERFORMING  THE  ONIYARAI  CEREMONY 

Driving  away  the  demons  with  a  shower  of  beans. 

Long  surimono  issued  by  Sakuragawa  Jihinari  as  an  invitation 
to  the  celebration  of  his  twenty-fourth  birthday,  first  month 
Bunsei  4,  i.  e.,  February,  1821,  of  our  calendar. 

Signed :  Toyohiro  ga. 


638.  ASAHINA  OPENING  A  NEW  SET  OF  ACCOUNT  BOOKS 

Long  surimono.  Invitation  to  the  celebration  of  Jihinari’s 
twenty -seventh  birthday.  Bunsei  7,  i.  e.,  1824. 

Signed :  Toyohiro  ga. 

( Illustrated ) 


HOKUSAI 


(B.  1760,  d.  1849) 


1 


639.  TWO  EARLY  PRINTS 

(a)  The  third  Segawa  Kikunojo  as  Kumanosuke.  Hosoe. 
Signed:  Shunr5;  and  (b)  Gihei  guarding  the  Chest  of 
Arms,  scene  from  the  Chushingura  drama.  Hosoe.  Not 
signed. 


640.  A  HIE=MAKI  (MINIATURE  RICE  FIELD) 

AND  A  ROUND  FAN 


Poem  written  by  the  seventh  Ichikawa  Danjuro,  and 
signed  “Shichi  dai  mei  Mimasu.” 

Yoko-e.  Surimono.  Signed1.  Hokusai  ga. 


641. 


GATHERING  SEA  FOOD 

Men,  women  and  children  on  a  beach  at  low  tide,  collecting 
flounders,  cuttle-fish,  turtles  and  clams. 

Yoko-e.  Not  signed.  About  1800. 


642. 


ROSE,  SPARROW  AND  BUMBLE  BEE 

Printed  in  tones  of  blue. 

Chuban.  Signed:  Hokusai  liitsu. 


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Xo.  638— ASAHINA  OPENING  A  NEW  SET  OF  ACCOUNT  BOOKS 


Third  Evening 


643.  CHRYSANTHEMUMS  AND  BUMBLE  BEE 

Yoko-e.  Signed  :  Zen  Hokusai  Iitsu  hitsu. 

I  *5  Fine  impression.  In  good  condition. 


SHOKOKU  MEIKO  KIRAN 

Views  of  Bridges  in  the  Several  Provinces. 

Complete  set  of  eleven  yoko-e  prints.  Signed :  Zen  Hokusai 
I-itsu  hitsu. 


I  o 


644.  YAMASH 1RO,  ARASH1YAMA  TOGETSU  KYO 

The  moon-viewing  bridge  at  Arashiyama  in  Yamato. 
Fine  impression.  Good  condition. 


645.  KOKUZE.  SANO  FUNA  BASHI 


V 


The  bridge  of  boats  at  Sano,  province  of  Kozuke. 
Fine  impression.  In  fair  condition. 

646.  KUMONO  K  AKE=H  ASH  I  YODO  SAN,  ASHIKAGA 

Tlie  cloud  bridge  on  Yodo  mountain  near  Ashikaga. 


^  O 


647.  HIDA=ETCHU  TSURU  BASHI 

The  suspension  bridge  joining  the  provinces  of  Hida  and 
Etchu. 


648.  KINTAI  BASHI  SUWO  NO  KUNI 


Kintai  bridge,  province  of  Suwo. 
wooden  arches  on  stone  piers. 
Fine  impression.  In  good  condition. 


Famous  for  its  five 


Third  Evening 


649.  TOKAIDO  OKAZAKI  YAHAGI  NO  HASHI 

The  bridge  over  the  Yahagi  river  at  Okazaki  on  the  T5- 
kaidd. 


650.  TAIKO  BASHI  KAMEIDO  TENJIN 

The  drum  bridge  in  the  grounds  of  the  Tenjin  shrine  at 
Kameido. 


2~  - - 


651.  AJIKAWA  GUCHI  TEMPOZAN 

The  bridges  at  the  mouth  of  the  Aji  river,  Tempozan, 
Osaka,  “copied  from  an  Osaka  picture  by  request.” 
Fine  impression.  In  good  condition. 


652.  SETTSU  TENMA  BASHI 

The  Tenna  bridge  at  Osaka,  province  of  Settsu.  Even-  j  0 
ing  scene  on  the  occasion  of  the  Festival  of  Lanterns.  ‘ 

653.  ECHIZEN  FUKUI  BASHI 


Fukui  bridge  connecting  two  districts  in  Echizen,  built  /() 
partly  of  wood  and  partly  of  stone  by  the  daimyo  of  the 
two  districts. 


654.  MIKAWA  YATSU  HASHI  NO  KOZU 

The  eight  platforms  bridge  at  Chiryu,  province 
kawa. 


of  Mi- 


RYUKYU  HAKKEI 

Eight  views  of  the  Ryukyu  Islands.  Four  prints  of  the  series. 
Yoko-e.  Signed :  Zen  Hokusai  Iitsu  hitsu. 


655.  BEISON  NO  CHIKURI 

The  bamboo  grove  at  Beison. 


656.  SHUNGAI  YUSHO 

The  evening  glow  at  Shungai. 


) 


5 


657.  CHUTO  NO  SHO=EN 

The  banana  gardens  at  Chuto  (or  Nakajima). 

658.  RYUTO  NO  SHOTO 

The  “Pine  Wave”  at  Ryuto.  Snow  scene. 


i ^ 
2-  0 


Third  Evening 


SETTSU-GEKKA 

Snow,  Moon,  Flowers,  the  three  most  beautiful  things.  Set  of 
three  prints. 

Yoko-e.  Signed:  Zen  Hokusai  Iitsu. 


659.  SNOW  ON  THE  SUMIDA  RIVER 

View  from  Mokuboji  temple;  a  little  shrine  on  an  islet 
in  the  right  foreground. 


660.  MOONLIGHT  ON  THE  YODO  RIVER 

Yodo  castle  at  the  right  with  its  famous  water-wheel. 


661.  CHERRY  TREES  IN  FULL  BLOOM  AT  YOSHINO 


662.  WILD  GEESE  FLYING  DOWN  ACROSS  THE  MOON 


.0 


Narrow  oban.  Signed:  Zen  Hokusai  Iitsu  hitsu. 

This  is  a  modern  print,  not  a  re-engraving.  Whether  the  de¬ 
sign  was  drawn  by  Hokusai,  or  whether  it  is  by  another  hand 
in  imitation  of  his  style,  the  writer  of  this  catalogue  is  not 
informed. 


Third  Evening 


663.  BUNYA  NO  YASUHIDE 

Seated  figure  of  the  poet  with  an  ode  printed  above.  Series : 
Rok-ka-sen.  Six  Famous  Poets. 

Oban.  Signed :  Katsushika  Hokusai  ga. 

664.  KISEN  HOSHI 

Another  print  of  the  same  series  as  the  foregoing. 


665.  KOSHU  MI  NOBUG  AWA 

The  Minobu  river  in  Koshu.  Series:  Shokei  Kiran,  Beau¬ 
tiful  Views  of  Unfamiliar  Places.  * 


Mount  for  round  fan. 


Signed :  Zen  Hokusai  Manji. 


666.  MAGNOLIA  AND  BUNCHO 

Chuban.  Signed  :  Zen  Hokusai  litsu  hitsu.  I 

Fine  impression.  In  good  condition. 

KATSUSHIKA  TAITO 

(Worked  about  1810-1850) 

667.  THE  MONKEY  BRIDGE 

Oban.  Green  label  across  the  top  has  been  trimmed  off,  leav¬ 
ing  the  print  square.  Signed:  Katsushita  Taito.  Published 
by  Echigo-ya. 

Fine  impression.  Good  condition. 


HOKUJU 

(Worked  in  early  nineteenth  century) 

668.  bushO  senju  ohashi  NO  KEI  /  Q 

View  of  the  great  bridge  at  Senju.  One  of  Hokuju’s 
prints  in  Western  style. 

Yoko-e.  Signed:  Hokuju  ga. 

669.  SEINING  FISH  AT  NINETY=NINE  RI  BEACH 

Yoko-e.  Signed:  Shotei  Hokuju  ga.  Publisher:  Eijudo. 

670.  ENOSHIMA,  SEVEN  RI  BEACH 

Seven  RI  Beach. 

Yoko-e.  Signed:  Hokuju  ga. 

Fine  impression.  Perfect  condition. 


Third  Evening 


671.  MACKEREL  FISHING  AT  CHOSHI  IN  KAGUSA  /  0 

Yoko-e.  Signed :  Shotei  Hokuju  ga.  Publisher :  Eijudo. 

672.  TWO  PRINTS  OF  THE  RYOGOKU  HAKKEI  SERIES 

(a)  Evening1  Snow  at  Yanagi  Bridge,  (n)  Returning  sails 
at  Ishibi. 

Size,  5  x  7t/o  inches.  Signed :  Hokuju  ga. 


ARTIST  UNKNOWN 


673.  TSUKUDA  ISLAND,  FUJI  IN  THE  DISTANCE 

Lateral  format.  6^  x  16  inches.  Not  signed. 

674.  PINE  TREE  AND  RISING  SUN 


Half  block  vertical  panel.  Not  signed. 


YANAGAWA  SHIGENOBU 

(B.  1784,  d.  1832) 


675.  SHO=KEI,  i.  e.  SPLENDID  VIEW 

A  great  waterfall  coming  down  behind  an  overhanging 
cliff'.  At  the  right  the  crescent  moon. 

Narrow  oban.  Signed-.  Yanagawa  Shigenobu. 


ASHIKUNI 


676.  THE  FOURTH  ICHIKAWA  EBIJURO 

IN  A  SHIBARAKU  ACT 

Large  surimono,  16^21  inches.  Somewhat  stained  and 
wormed. 


ANDO  HIROSHIGE 

(B.  1797,  d.  1858) 

TOTO  MEISHO 

“Famous  Sights  in  the  Eastern  Capital.”  Many  series  of  Edo 
views  with  this  title  were  designed  bv  Hiroshige  for  various  publishers. 

Th  ree  prints  of  the  earliest  series. 

Yoko-e.  Signed:  Ichiryusai  Hiroshige.  Published  by  Kawa¬ 
guchi  Shozo. 


Third  Evening 


677.  SUSAKI.  YUKI  NO  ASA 

Susaki  in  snow  on  New  Year’s  morning;  the  sun  just  com¬ 
ing  into  view  above  the  horizon.  To  see  the  sun  rise  on  New 
Year’s  morning  was  regarded  as  an  auspicious  way  to  be¬ 
gin  the  year.  The  view  from  Susaki  was  greatly  admired. 
Fine  impression  of  this  rare  print. 


678.  TAKANAWA  NO  TSUKI 

Full  moon  at  Takanawa;  a  flock  of  wild  geese  flying  down. 


679.  SHINOBU  GA  OKA  HASU  IKE  NO  ZU 

Lotus  pads  on  Shinobazu  Pond. 


‘iO-  . 

0  oX/lAs***- 


680.  SUMIDAGAWA  HANA  ZAKARI 

Cherry  trees  in  full  bloom  on  the  Sumida  river  embank¬ 
ment.  Mount  Tsukuba  in  the  distance.  /S 

Series  No.  2,  published  by  Kawaguchi  Sliozo. 

Good  impression;  not  first  edition. 

Ten  prints  from  the  earliest  of  several  series  published  by  Sano-ki, 
i.  e.,  Sano-ya  Kihei. 

681.  SHIBA  SHINMEI  KYODAI 

Inside  the  grounds  of  Shinmei  Yashiro  (Shinto  shrine)  in  I  5 
the  Shiba  district. 


682.  NAGATABABA  SANNO  GU 

The  Sanno  shrine  at  Nagatababa. 
Unusually  fine  impression. 


Third  Evening 


683.  MASAKI  YUKI  HARE  NO  ZU 

Views  of  Masaki  in  clear  weather  after  snow. 

684.  KANDA  MYOJIN  HIGASHI  ZAKA 

The  eastern  ascent  to  the  Myojin  shrine  at  Ivanda. 
Superb  impression  in  fine  condition. 


685.  KAMEIDO  TEMMANGU  KYODAI  YUKI 

The  grounds  of  the  Temmangu  shrine  at  Ivameido  in  snow. 


686.  ASAKUSA  KINRYUSAN  TOSHI  NO  ICHI  GUNJU 

Crowd  buying  New  Year’s  decorations  at  Kinryusan  tem- 
/  S  pie,  Asakusa. 

Not  first  edition.  The  gray  printed  too  dark. 


687.  ASAKUSA  KINRYUSAN  TOSHI  NO  ICHI 

The  same  subject  from  a  different  point  of  view.  Snow 
is  falling  and  many  umbrellas  are  raised. 

688.  UENO  TOEZAN  NO  ZU 

Cherry  trees  in  bloom  in  the  grounds  of  Toeizan  temple, 
Ueno. 


689.  SHIBA,  AKABANE  BASHI  NO  ZU 

Picture  of  Akabane  bridge.  The  bridge  in  the  foreground 
and  the  barracks  on  the  further  side  of  the  canal. 

Ordinary  impression. 


5 


690.  SHIBA  ZOJOJI  SANNAI  NO  ZU 

In  the  ground  of  Zojoji  temple. 
Ordinary  impression. 


Three  prints  from  later  series  issued  by  the  same  publisher. 

Yoko-e.  Signed :  Hiroshige  ga. 

691.  SHIBA  AKABANE  NO  YUKI 

Snow  Scene.  A  canal  at  left  with  Akabane  bridge  in  the 
/  6  middle  distance;  a  row  of  barracks  and  a  firemen’s  watch- 

tower  on  a  wooded  hill  to  the  right. 

Late  impression. 


692.  OJI  TAKI  NO  GAWA 

Bathers  in  the  Taki  River  at  Oji. 


Third  Evening 


693.  DOKANYAMA  MUSHI  NAKI  NO  ZU 

Catching  singing  insects  at  Dokanyama. 
Late  impression. 

Three  prints  from  series  issued  by  other  publishers. 


■0 


7 


yO 


694.  IMADO  YUSHO 

The  evening  glow  at  Imado.  Sub-title  of  series :  Sumida- 
gawa  Hakkei.  “Eight  Sumida  river  Views. 

Late  impression  without  the  red  glow  in  the  shy. 


695.  YUKI  NO  ASA  SUSAKI  NO  HINODE 

Sunrise  at  Susaki  on  New  Year’s  morning. 

One  of  a  series  issued  about  1842.  Publisher’s  imprint  omitted 
from  this  impression. 


696.  MATSUCHIYAMA  NO  ZU 

View  from  Matsuchi  hill,  Fuji  in  the  distance. 
From  the  series  published  by  Fukichi. 

Late  impression. 


Two  prints  from  series  published  by  Marusei. 

Y ok o-e.  Signed :  Hiroshige  ga. 

697.  SUM1DAGAWA  HASHIBA  NO  WATASHI 

The  Hashiba  Ferry  across  the  Sumida  river. 

An  unusually  fine  and  early  impression  though  not  of  the  first 
edition.  This  was  a  popular  print,  and  edition  after  edition 
was  printed  until  the  blocks  were  worn  out.  The  badness  of 
the  later  impressions  is  inconceivable  unless  one  has  seen  them. 


2-^ 

% 


698.  SHINOBAZU  NO  IKE 

Shinobazu  pond :  three  tea-houses  and  the  Benten  shrine  at  S  ( 

the  risht-  Q 

Seven  prints  of  the  series  published  by  Fuji-hiko  whose  shop 
name  was  Matsubara-do. 

Half -block  vertical  panels.  Signed:  Hiroshige  ga. 

699.  NIHON  BASHI  SETCHU  NO  KEI 

Nippon  bridge  in  snow;  Fuji  san  in  the  distance. 


CD 


(3 


700.  SUSAKI  KAIHIN  SHOHI  GARI  NO  ZU 

Picture  of  gathering  clams  at  Susaki  at  low  tide. 


t 


Third  Evening 


j- ' 

%*■ 

*•  i 

i 


701 


703 


V 


701.  MATSUCHI  YUKI  HARE 

Matsuchi  hill  in  clear  weather  after  a  snowfall. 
Superb  impression.  In  fine  condition. 


S0  702- 
6^Ho3. 


ASUKA=YAMA  SHITA  HARU  NO  KEI 

View  at  the  foot  of  Asuka  hill  in  spring. 

SHIN  YOSHIWARA  EMONZAKA  AKI  NO  TSUKI 


The  autumn  full  moon  over  the  hill  leading  to  the  gate  to 
the  new  Yoshiwara. 

Fine  impression  of  a  much  admired  print. 


7 


704.  ASAKUSA  KINRYUSAN  [NO]  SHITA 

AZUMABASHI  UCHO  BO 

Kinryusan  temple  seen  through  rain  from  beneath  Azuma 
bridge. 


705. 

706. 


UME  YASHIKI  MANKA  NO  ZU 

Plum  trees  in  full  bloom  at  Ume  Yashiki. 

Three  prints  of  a  series  published  by  Kawaguchi  Shozo. 
Half -block  vertical  panels.  Signed :  Hiroshige  ga. 

SUMIDA=GAWA  WATASHI  BA 

The  ferry  place  on  the  Sumida  river. 


Third  Evening 


707.  TAKANAWA  NO  TSUKI 

Moonlight  at  Takanawa. 


I 


2- 


iro 


708.  UENO,  SHINOBAZU  NO  IKE 

Shinobazu  pond,  Ueno,  in  snow. 


709.  TAKANAWA  TSUKI  NO  ZU 

Picture  of  moonlight  at  Takanawa. 
Half -block  vertical  panel  Toto  Meisho, 
Published  by  Yamaguchi-ya  Tobei. 
Trimmed  down  and  slightly  soiled. 


7 


O 


signed :  Hiroshige  ga. 

(3 


710.  SHICHLRI  GA  HAMA 

Seven-ri  beach.  Travellers  toiling  through  the  deep  sand. 

Mount,  for  a  round  fan;  one  of  a  series  Toto  Ensoku  Meisho,  i.  e. 
Famous  sights  far  from  Edo.  Not  signed.  Q 

Trimmed  to  rectangular  shape.  Left  edge  torn. 


711.  MOUNT  FUJI,  PROVINCE  OF  SURUGA 

Fan-shaped.  Series :  Shokoku  Meisho  Harimaze.  Not  signed. 


712.  KYOTO.  KAWARA  YUSUZUMI 

“Evening  cooling  on  the  river  bed.”  Two  women  on  a 
low  platform  built  over  the  shallow  Kamo  river. 

Circular  composition.  Same  series  as  preceding  lot. 

Signed :  Hiroshige  ga. 


713.  TOTSUKA 

Landscape  and  figure  of  a  woman. 

The  title  of  the  series  “ Tokaido ”  in  bold  charcters  formed  a  part 
of  the  sheet  at  the  head,  but  has  been  trimmed  off,  leaving  only 
the  picture  which  is  intact.  Signed :  Hiroshige  ga. 

714.  VIEW  OF  FUJI  FROM  TAGO  NO  URA 

Middle  sheet  of  a  triptych,  the  right-hand  sheet  of  which  was 
designed  by  Kunisada.  Oban.  Signed :  Hiroshige  hitsu.  Seal, 
lchiryu-sai.  Publisher,  Maru-ya  Jinpachi.  Dated  1858. 


Third  Evening 


715.  AKASHI  BEACH 

Left-hand  sheet  of  a  triptych  of  the  series  Furyu  Genji  Awase, 
i.  e.  Genji  up-to-date.  The  right  hand  sheet  of  this  triptych 
was  designed  in  part  by  Kunisada.  Oban.  This  sheet  signed : 
Hiroshige  hitsu.  Seal.  Ichi-ryu-sai.  Publisher ,  Isekane. 
Dated  1853. 

Very  fine  impression. 

716.  A  SNOWY  DAY  AT  NUMAZU 

Oban.  Middle  sheet  of  a  triptych.  Signed :  Hiroshige  liitsu. 
Seal,  Ichi-ryu-sai.  Also  signed  by  the  engraver  Take.  Pub¬ 
lisher,  Isekane.  Dated  Ox  Year,  1853. 

Fine  impression.  The  white  pigment  of  the  snow  flakes  black¬ 
ened  by  chemical  decomposition. 

EDO  MEISHO 

“Famous  Sights  in  Edo.”  Many  series  of  Edo  views  with  this 
title  were  issued  by  different  publishers. 

717.  YUSHIMA  TENJ1N  GU  YUKI  HARE  NO  ZU 

The  Yushima  Ten  jin  shrine  in  clear  weather  after  snow. 

Late  impression. 

718.  TAKANAWA  AKI  NO  TSUKI 

Autumn  moon  at  Takanawa. 

Yoko-e.  Published  by  Arita-ya. 

719.  OCHA  NO  MIZU 

The  Tea-water  canal. 

Dated  eleventh  month  Ox  Year,  1853.  Yoko-e.  Published  by 
Yamada-ya. 

720.  ASUK A=YAMA  HANABI 

A  party  of  women,  all  carrying  blue  umbrellas,  viewing  the 
cherry  blossoms  on  Asuka  hill. 

Half  block  vertical  panel.  Signed:  Hiroshige  ga.  Published 
by  Wakasa-ya.  Dated  third  month  Bat  Year,  1852. 

721.  ASUKAYAMA  HANA  MI 

Looking  at  Cherry  Flowers  on  Asuka  hill. 

Yoko-e.  Published  by  Sano-ki. 

Good  impression.  Margins  trimmed  close. 


Third  Evening 


122.  RYOGOKU  BASHI  HANABI 

Fireworks  at  Ryogoku  bridge. 
Yoko-e.  Published  hy  Izumi-ya. 

123.  OJI  INARI  YASHIRO 

The  Inari  Shrine  at  Oji. 
Yoko-e.  Published  hy  Fuji-kei. 
Ordinary  impression. 


SHIKI  EDO  MEISHO 

Famous  sights  of  Edo  in  the  four  seasons. 

Half -block  vertical  panels.  Signed :  Hiroshige  ga.  Published 
by  Kawaguchi  Shozo. 

-  ^ 

124.  HARU,  GOTENYAMA  NO  HANA 

Spring.  Cherry  blossoms  on  Gotenyama. 


725.  NATSU,  RYOGOKU  NO  TSUKI 

Summer.  The  full  moon  seen  from  a  boat  under  Ryogoku 
bridge. 


726.  AKI,  KAIANJI  KOFU 

Autumn.  Maple  trees  at  Kaianji. 


II 


£ 


121.  FUYU.  SUMIDA=GAWA  NO  YUKI 

Winter.  Raftsman  on  the  Sumida  river  in  a  snow  storm. 


SANK A I  MIT ATE  SUMO 

Mountains  and  Sea  Judged  at  Wrestling.  The  title  upon  an 
umpire’s  fan  for  a  wrestling  match.  Nine  prints  of  the  series  of 
twenty. 

Yoko-e.  Signed:  Hiroshige  ga.  Publisher :  Yamada-y a.  Dated 

1846. 


728.  ECHIGO,  YUNO=0  TOGE 

The  Yuno-o  pass,  province  of  Echigo. 

729.  SETTSU  AJIKAWA  GUCHI 

The  mouth  of  the  Aji  river,  province  of  Settsu. 


Third  Evening 


730.  ECHIGO,  NIIGATA 

View  of  Niigata  harbor,  with  many  white  sails  in  the  dis¬ 
tance. 


731.  ETCHU  KOZU  MIN ATO 

*>  The  harbor  of  K5zu,  province  of  Etchu. 


732.  AWA,  KUMINATO 


The  fishing  village  of  Kuminato  on  the  coast  of  Awa. 


733.  ETCHU,  TATEYAMA 

Hugged  mountain  scenery,  with  columns  of  steam  rising 
from  hot  springs. 


734.  HARIMA,  TATSUYAMA 


/> 


In  the  foreground  at  the  right  a  small  temple  in  a  sheltered 
nook :  in  the  background  a  peak  surrounded  by  white  clouds. 


I  V 


735.  SETTSU,  ARIMAYAMA 

Distant  view  of  Mount  Arima,  province  of  Settsu. 


736.  BIZEN  UKAZAN 


)  > 


Snow  scene.  A  Shinto  shrine  on  a  hill  in  the  foreground ;  a 
taller  hill  in  the  middle  distance ;  and  at  the  left  a  glimpse 
of  a  frozen  lake  with  low  hills  on  the  further  shore. 


FIVE  NARROW  PANELS 
One-third  block  vertical.  Signed :  Hiroshige. 


737.  COURT  NOBLE  AT  FOOTBALL  PRACTICE 

In  old  Japan  football  was  played  by  the  Court  nobles.  It 
was  a  game  quite  unlike  European  football.  The  ball  was 
a  featherweight  and  great  skill  was  required  to  keep  it  in 
the  air  and  to  send  it  from  player  to  player  without  touch¬ 
ing  except  with  the  foot. 


738.  THE  MONKEY  BRIDGE  IN  SNOW 

A  charming  composition. 


739.  A  PRECIPITOUS  CLIFF 

Crowned  with  a  grove  of  red-leaved  trees ;  a  river  at  its 
foot. 


Third  Evening 


740.  TWO  PRINTS 

(a)  Spring  landscape  with  Fuji  in  the  distance;  (b)  geese 
flying  down  at  Tsukuda  island. 

741.  BATS  FLITTING  THROUGH  THE  MOONLIGHT 

Small  vertical  'print.  Signed :  Hiroshige  hitsu.  Bare. 

742.  BOYS  ROLLING  A  HUGE  SNOWBALL 

Koban.  Signed:  Hiroshige  liitsu.  Early  work.  Rare. 

HIROSHIGE  II 

743.  WILLOW  BRANCHES  AND  SWALLOWS 

Half -block  vertical  panel.  Signed:  Shigenobu.  Publisher, 
Wakasa-ya.  Dated  1858. 

744.  YOROI  NO  WATASHI 

The  Yoroi  ferry  in  falling  snow.  Series:  Toto  San-ju-rok- 
kei.  Thirty-six  views  of  the  Eastern  Capital. 

Oban.  Signed  :  Hiroshige  ga. 

Fine  impression. 


TOTO  MEISHO 

Yoko-e.  Signed :  Hiroshige  ga.  Published  by  Izumi  ya.  Dog 
Year,  1862.  Tzvo  prints  of  the  series. 

745.  RYOGOKU  KAWABIRAKI  HANAMI 

Opening  of  the  river  season  with  fireworks  at  Ryogoku. 

746.  SUMIDA=GAWA  MIMEGURI 

Cherry  blossoms  at  Mimeguri  on  the  Sumida  river. 

Very  good  impression.  Soft  blues  and  red. 


7 


JT* 


7  2 


-o 


OMI  HAKKEI 
Eight  views  of  Omi. 

Oba/n.  Signed:  Hiroshige  ga.  Dated  1864.  The  red  labels 
in  all  the  eight  prints  have  been  toned  down  with  chemicals. 


747.  AWAZU  SEIRAN 

Clear  weather  after  a  storm  at  Awazu. 


Third  Evening 


748.  SETA  YUSHO 

The  evening'  glow  at  Seta. 


749.  YABASE  KIBAN 

Returning  sails  at  Yabase  . 


750.  KATADA  RAKUGAN 

Geese  flying  down  at  Katada. 


751.  ISHIYAMA  AKI  TSUKI 

Autumn  moon  at  Ishiyama. 


752.  Mil  BANSHO 

The  vesper  bell  at  Mii  temple. 


753.  HIRA  BOSETSU 

Evening  snow  on  Mount  Hira. 


754.  KARASAKI  YAU 

Night  rain  at  Karasaki. 


755.  WISTARIA  AND  CANARY 

Half -block  vertical  panel.  Signed :  Rissho  hitsu.  Dated  eleventh 
month  Ox  Year  1865.  It  was  in  this  year  that  the  artist  de¬ 
serted  his  wife  and  took  up  his  residence  in  Yokohama,  relin¬ 
quishing  the  Hiroshige  name  to  Shigemasa  who  became  Hiro¬ 
shige  III. 


756.  SOSHU,  SHICHERI  GA  HAMA 

Holiday  makers  at  Seven-ri  Beach. 

Oban  triptych.  Signed:  Hiroshige  ga.  Published  by  Fuji-kei. 
Dated:  Monbey  Year,  1860. 

Not  in  perfect  condition. 


Third  Evening 


HIROSHIGE  III 


Pupil  of  Hiroshige.  Took  the  name  after  1865,  when  lie  married 
Hiroshige’s  daughter,  divorced  wife  of  Hiroshige  II. 


SHOKOKU  MEISHO  HYAKKEI 

One  hundred  views  of  famous  sights  in  the  home  country. 
Oban.  Signed :  Hiroshige  ga.  Published  by  Eikichi. 

757.  UNSHU,  HIROSE  SHIN=KEI 

Real  view  of  Hirose,  province  of  Unshu  (Izumo). 
Dated  Ham  Year  1871. 


758.  BANSHU,  MUROTSU  SHIN  =  KEI 

Real  view  of  Murotsu  in  Banshu.  Snow  scene. 
Dated  1871 

759.  SUWA,  IWAKUNE  KINTAI  BASHI 

Ivintai  bridge  at  Iwakuni,  province  of  Suwa. 
Dated  1871 
Good  impression. 

760.  BIZEN,  RYUKOZAN 

Dragon  mouth  mountain  in  Rizen.  Rain  scene. 
Dated  Monkey  Year,  1872. 

761.  MINO,  OCHIAI  BASHI 

Ochiai  bridge,  province  of  Mino. 

Dated  Cock  Year,  1873. 

762.  BUNGO,  HIDA=KAMA  BUCHI  TAKASE  MURA 

Hida-kama  and  the  village  of  Takase  in  Bungo. 

Dated  1873. 

Good  impression. 


3 


3 


763.  OSHU,  SOTO  GA  HAMA 

Soto  beach,  province  of  Oshu. 
Dated  1871. 


3 


764.  TSUCHIYAMA 

A  daimvo  procession  crossing  the  bridge  in  a  shower. 

Oban.  Series:  Tokaido.  Signed:  Hiroshige  ga.  Dated  1875. 


Third  Evening 


UTAGAWA  YOSHITORA 

(Worked  in  middle  years  of  nineteenth  century) 

765.  ROKUGAWA  WATASHI  BUNE 

Ferry-boat  crossing  the  Rokugawa.  Series:  Shinsen  Edo 
Meisho.  New  selection  of  Edo  Views. 

Yoko-e.  Signed :  Ichimosai  Y oskitora  ga.  Publisher :  Mori-ya 
Jihei.  Dated  Hare  Year,  1855. 

766.  GO=H  YAKU  RAKAN  SAZAIDO 

The  shrine  of  the  Five-hundred  Rakan. 

Same  series  as  the  preceding  lot. 


767.  NIPPORI  JI  =  IN  SETTEI  NO  ZU 

The  Snow  Garden  at  Nippon  temple. 
Same  series. 


FUSATANE 

768.  OMI  HAKKEI 

0  Eight  Views  of  Omi.  Complete  set  of  eight  prints. 

Yoko-e.  Signed:  Fusatane  ga.  Publisher,  Mori-ya  Jihei. 
Dated  Tiger  Year  1854. 

GOSOTEI  TOYOKUNI  AND  GOTOTEI  KUNISADA 

YAKUSHA  JU-NI-TSUKI 

Actors  in  each  of  the  twelve  months.  Four  of  a  series  of  twelve 
oban  triptychs. 

769.  SHI  GATSU.  THE  FOURTH  MONTH 

Actors  and  geisha  viewing  wistaria  in  bloom  at  the  Tenjin 
shrine  at  Kameido. 

Signed :  Toyokuni  ga.  Published  by  Uemura. 

In  good  condition.  Framed. 

770.  KU  GATSU:  THE  NINTH  MONTH 

Seven  actors  masquerading  as  the  Seven  Fortune  Gods. 
Published  by  Maruya  Jinpachi.  Signed:  Gototei  Kunisacla  ga. 
In  fine  condition.  Framed. 


Third  Evening 


771.  JU  GATSU:  THE  TENTH  MONTH  3  q 

Actors  and  geisha  at  Keianji  viewing  the  maple  trees  in 
autumnal  foliage. 

Published  by  Y amada-ya.  Signed  :  Gototei  Kunisada  ga. 

In  good  condition.  Framed. 

772.  JU=NI  GATSU:  THE  TWELFTH  MONTH 

Actors  standing  on  the  river  embankment  at  Mukojima 
by  the  torii  of  the  Mimeguri  shrine,  in  a  snow  storm.  All 
wear  kappa  (rain  coats)  and  have  zukin  (hoods)  or  hoka- 
buri  (kerchiefs)  about  their  heads,  and  carry  umbrellas. 
Published  by  Tsuru-ya.  Signed :  Gototei  Kunisada  ga. 

In  good  condition.  Framed. 


UTAGAWA  KUNISADA 


(B.  1786,  d.  1864) 

773.  MEMORIAL  PORTRAIT  OF  HIROSHIGE 

Issued  in  the  9th  month  of  the  Horse  Year,  1858,  shortly 
after  Hiroshige’s  death.  Long  inscription  by  his  friend 
Temmei  Rojin;  and  a  short  one  by  Kunisada,  reading 
“While  thinking  of  him  we  shed  tears.” 

Oban.  Signed :  T oyokuni  ga.  Publisher :  Eikichi. 

774.  FUTAMI  GA  URA  AKEBONO  NO  ZU 

Sunrise  at  Futami  beach,  at  Ise. 

Yoko-e.  Signed :  Kochoro  Kunisadaga.  Publisher:  Yamaguchi. 

KUNISADA  II 

(B.  1823,  d.  1880) 

775.  MURASAKI  SHIKIBU  GENJI  KARUTA 

Illustrations  of  scenes  in  the  Genji  Monogatari.  Complete  £ 
set  of  54  oban  prints,  in  original  album  as  published. 
Dated  Snake  Year,  1869. 


KUNIYOSHI 

(B.  1797,  d.  1861) 

776.  SHIN  YOSHIWARA 

View  on  the  road  to  the  Yoshiwara;  bright  moonlight,  the 
moon  surrounded  by  a  broad  halo.  Series:  Toto  Meisho. 
Yoko-e.  Signed:  Ichiyosai  Kuniyoshi.  Publisher:  Kaga-ya. 
Fine  impression. 


Third  Evening 


777.  WANG  NGAI  IN  A  THUNDERSTORM 

After  the  death  of  his  mother  who  in  her  lifetime  had 
always  been  frightened  by  the  sound  of  thunder,  he  never 
failed,  when  a  thunderstorm  arose,  to  hasten  to  her  tomb, 
kneel  down  before  it  and  cry  aloud,  “Fear  not,  mother! 
Your  son  is  near!”  Series:  Twenty-four  Paragons  of  Filial 
Piety. 

Yoko-e.  Signed :  Ichiyusai  Kuniyoshi-ga. 


778.  THE  STORY  OF  KAWABE  NO  KAMI 


Ordered  by  the  Emperor  to  fell  a  large  tree  for  timber 
for  shipbuilding,  he  brought  his  workmen  to  it,  but  before 
they  could  begin  their  task  Kaminari  the  Thunder  God,  who 
was  hidden  in  its  branches,  dispersed  them  with  blinding 
flashes  of  lightning.  He  desisted,  however,  when  Kawabe 
assured  him  he  was  obeying  an  Imperial  command  to  cut 
down  the  tree. 

Yoko-e.  Signed :  Ichiyusai  Kuniyoshi  ga. 


779.  FOUR  VILLAGES  SHOWN  ON  ONE  SHEET 

Series:  Tokaido  Go-ju-san  Tsugi  Go-shuku  Meisho. 

Yoko-e.  Signed :  Ichiyusai  Kuniyoshi  ga.  Published  by  Tsuru- 
ya  and  Tsuta-ya  jointly. 


780.  SUMIDA  TSUTSUMI  NO  YU  FUJI 

Fuji  in  the  evening  from  the  Sumida  river  embankment. 
Series,  Toto  Fujimi  San-ju-rok-kei. 

Yoko-e.  Signed :  Ichiyusai  Kuniyoshi  ga.  Publisher :  Murata. 


781.  SOSHU  OYAMA  MICHI  TAMURA  WATASHI  NO  KEI 

The  Tamura  ferry  on  the  road  to  Oyama. 

Yoko-e.  Signed :  Ichiyusai  Kuniyoshi  ga.  Publisher-.  Ibasen. 


782.  THE  AWABE  SHELL  DIVERS  AT  ISE 

Oban.  Left-hand  sheet  of  a  triptych.  Signed :  Ichiyusai  Kuni¬ 
yoshi  ga.  About  1842. 


Third  Evening 


IvOSO  GO  ICHIDAI  RYAKU  ZU 

An  epitome  of  the  whole  life  of  Koso  told  in  pictures;  Koso  being 
another  name  for  Nichiren,  the  founder  of  the  Hokke  sect  of  Buddhists. 
Three  prints  of  the  series  of  ten. 

Yoko-e.  Signed :  Icliiyusai  Kuniyoshi  ga.  Publisher :  Iseri. 

783.  KAMAKURA  REIZANGASAKI  AMA  INORI 

Nichiren  praying  for  rain,  at  Kamakuri  in  A.D.  1271  after 
a  long  drought.  He  stands  upon  a  ledge  of  rock  pro¬ 
jecting  over  the  sea,  and  in  answer  to  his  prayer,  rain 
falls  in  torrents. 

784.  SASSHU  SADO  RYUKEI  TSUNODA  NAMI  DAIMOKU 

Nichiren  on  his  way  to  exile  in  the  isle  of  Sado,  quelling 
a  terrible  storm  by  casting  a  spell  on  the  waves  in  the 
form  of  the  invocation  to  Buddha,  Namu  Mivo  Ho  Renge 
Iviyo, — Hail  to  the  Jewel  in  the  Lotus. 

785.  NICHIREN  IN  A  SNOW  STORM 

making  a  pilgrimage  to  Tsukahara  while  in  exile  in  Sado. 


786.  SHIOKUMI 

Carriers  of  Sea  water  for  salt  making.  Four  women  as 
representatives  of  as  many  of  the  fabulous  Chinese  heroes 
whose  exploits  are  recounted  in  “Suikoden.” 

Four  square  surimono  of  the  FuzoJcu  Onna  Suikoden  set  of  five. 
Signed :  Icliiyusai  Kuniyoshi  ga. 

Superb  impressions.  Perfect  condition. 


SURIMONO 

KUNISADA 

787.  ACTOR  AS  A  MAN  DRAWING  A  SWORD 

FROM  ITS  SCABBARD 


KUNISADA 

788.  TWO  EXAMPLES 

(a)  Actor  in  a  female  role.  Dated  1820.  (b)  Actor  as 

an  enraged  noble  brandishing  a  war  fan. 


Third  Evening 


KUNISADA 

789.  ACTOR  AS  BENKEI  ON  GOJO  BRIDGE 

KUNISADA 

790.  ACTOR  AS  A  NOBLE  SEATED  ON  A  DAIS 

^  Another  actor  is  seated  before  him  holding  a  sake  ladle 

decorated  for  the  marriage  ceremony. 

KUNISADA 

791.  TWO  EXAMPLES 

(a)  Primitive  warrior  with  tattooed  body,  (b)  Theatrical 
scene. 


KUNISADA 

^  792.  GROUP  OF  JAPANESE  WARRIORS  IN  ARMOR 

3 


SADAKAGE 

793.  ACTOR  AS  A  WOMAN  HIDING  BENEATH 

A  VERANDA  AT  NIGHT 


SHUNMAN 


794.  TWO 


EXAMPLES 

(a)  A  maiko  dancer,  (b)  Woman  drawing  an  uchikake 
over  her  head  as  a  protection  from  rain. 


KUNIYOSHI 


795.  TWO 


EXAMPLES 

(a)  Scene  from  a  drama:  a  combat  in  a  thunderstorm  at 
night.  (b)  A  battledore  decorated  with  a  picture  of  a 
gathering  of  nobles  and  a  large  figure  of  a  girl  holding  a 
shuttlecock. 


KUNIYOSHI 


796.  SCENE  FROM  A  DRAMA 

Actors  as  Ushiwaka  and  Benkei  fighting  on  Go  jo  bridge. 

KUNIYASU 


797.  TWO  EXAMPLES 

(a)  The  youthful  seventh  Danjurd  being  taught  the  toshi- 
koshi  ceremony  of  throwing  beans  to  drive  away  evil  spirits. 

(b)  The  fifth  Segawa  Kikunojo  as  a  woman  holding  a  stand 
with  New  Year’s  decorations  and  addressing  an  actor  of 
the  Ichikawa  line  impersonating  a  dwarf. 


Third  Evening 


ARTIST  UNKNOWN 

798.  TWO  EXAMPLES  ^ 

(a)  A  woman  hanging  up  a  kakemono,  (b)  Scene  from 
a  drama :  actors  as  a  Buddhist  pilgrim  and  a  woman. 


SHINSAI 

799.  A  GIRL  PUTTING  HER  HANDS  OVER  <T 

THE  EYES  OF  ANOTHER  GIRL 

and  interrupting  her  examination  of  a  picture  book. 


HOKUSAI 

800.  NEW  YEAR’S  EMBLEMS 

Ebi  (crayfish);  Shimi-nawa  (decoration 
Pine  branch,  and  Gohei  (cut  paper). 

Signed :  Fuzenkyo  Iitsu. 


SO 

3  2-  — 

of  rice-straw)  ; 


HOKIvEI 

801.  SHINBUTSU=MARU  SLAYING  THE  KOI  NUSHI 

A  legendary  exploit  of  the  youthful  Benkei. 
Large  surimono.  8^  x  14 V2  inches. 

Signed :  Hokkei. 

Fine  impression. 


HOKKEI 

802.  GIANT  TENGU  AND  A  WHITE  COCK  AND  HEN 

HOKKEI 

803.  WHITE  COCK,  HEN,  AND  VIOLETS 


3  * 


V 


HOKKEI 

804.  ONNA  NO  DARUMA 

A  young  woman  impersonating  Daruma  crossing  the  sea 
on  a  reed. 


2^  2- 


yO 


HOKKEI 

805.  KUAN  YU,  THE  CHINESE  GOD  OF  WAR 


5* 


HOKKEI 

806.  MOTHER  AND  DAUGHTER 

reading  an  inscription  upon  a  stone  monument. 


Third  Evening 


HOKKEI 

807.  WOMAN  LOOKING  DOWN  AT  A  FALLEN  KITE 

in  the  shape  of  a  vakko,  or  servant. 

0 

HOKKEI 

808.  MOSHOKUN  AT  THE  BARRIER  GATE 

which  he  passed  through  the  cleverness  of  one  of  his  suite 
who  climbed  a  tree  and  imitated  the  crowing  of  a  cock. 

HOKKEI 

809.  JOSAN  NO  MIYA’S  PET  KITTEN 

running  out  from  under  the  curtain  and  interrupting  Prince 
Genji  and  his  friends  at  football  practice  under  cherry 
trees  in  the  palace  grounds. 


I® 

,  lO 
0^ 


HOKKEI 

810.  AN  EMPEROR  OF  THE  FUJIWARA  EPOCH  AND 

COURT  LADIES  COMPOSING  ODES 

HOKKEI 

811.  PORTRAIT  OF  TOSHINARI 

And  above,  a  view  of  Matsushima. 


HOKKEI 

812.  AOGARASU :  “THE  GREEN  CROW” 

I  Illustration  of  an  incident  from  the  Genji  Monogatari. 


0 


HOKKEI 


813.  KOCHO  NO  UME 


Pleasure  boat  on  lake  in  the  gardens  of  the  Imperial  palace. 
Incident  from  the  Genji  Monogatari. 


HOKKEI 

814.  GENJI  AT  AKASHI  BEACH 

Another  incident  from  the  Genji  Monogatari. 

GAKUTEI 


815.  LIU  PEI 


the  first  Emperor  of  the  Shu  Han  dynasty  of  China.  One 
of  a  set  of  surimono  depicting  the  three  friends  who  took 
the  famous  “peach-garden  oath”  to  live  and  die  together. 


Third  Evening 


Four  surimono  of  the  series  “Gaku  Men  Fujin  Awase.” 
of  Framed  Pictures  of  Women. 

GAKUTEI 

816.  ONO  NO  KOMACHI 


Collection 


817.  TOMOE  JO 


GAKUTEI 


The  famous  woman  warrior  better  known  as  Tomoe  Gozen.. 


s-0 


GAKUTEI 

818.  MASATSURA  HAHA,  THE  MOTHER  OF  MASATSURA 


GAKUTEI 

819.  SOTO=ORA  HIME 


GAKUTEI 

820.  KUSUNOKI  TAITO  MASATSURA  TAIHEIK1 

The  famous  warrior  stands  on  the  side  of  a  hill  amid  blos¬ 
soming  cherry  trees. 


)  ^ 


GAKUTEI 

821.  HINOASHIMARU  TAIHEIKI 

The  young  warrior  leaning  against  a  door  post  and  look¬ 
ing  into  a  room. 


/ Z 


!>b 


GAKUTEI 

822.  THE  DANCER  BIMIYO  TOKAN 

GAKUTEI  (?) 

823.  THREE  SEVENTEENTH  CENTURY  FIGURES 

824.  GANRYO  ^ 

Shadowy  figures  of  a  man  and  a  woman. 

HANZAN 

Surimono  for  a  seventieth  birthday  celebration. 


EKITEI 

825.  OISO  NO  TORA  AND  ASAHINA 

Surimono  calendar  for  a  Tiger  year. 

Signed :  Ekitei  ga. 


FOURTH  EVENING  SESSION 


THURSDAY,  MAY  9,  1918 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  8.15  O'CLOCK 


HOSODA  EISHI 

(Worked  c.  1788-1800) 


826.  PLEASURE  BOATS  AT  A  LANDING 

Oban.  Part  of  a  triptych.  Signed-.  Eishi  ga.  Publisher-. 
W  aka-sa-ya.  About  1788. 

827.  AN  INFORMAL  CALL 

A  girl  approaching  a  house  where  a  woman  stands  on  a 
veranda :  rice  fields  in  the  distance. 

Koban.  Signed:  Eishi  ga.  About  1788. 


Fourth  Evening 


828.  SE1YO.  THE  FIRST  MONTH 

A  youth  calling  at  a  house  and  bearing 
A  girl  holding  a  shuttlecock  looks  on. 


a  New  Year’s  gift. 


Series :  Furyu  Ju-ni  do. 

Chuban.  Signed:  Eishi  ga.  About  1788. 


829.  AT  THE  FERRY  LANDING 


1 


Two  women  in  a  ferry  boat  and  one  standing  on  the  shore. 
Series :  Miyako  Hakkei  no  Nishiki. 

Cliuban.  Signed :  Eishi  ga.  About  1789. 


830.  MINASH I=GAI :  THE  MINASHI  SHELL 

.-  0  A  young  man  walking  between  an  oiran  and  her  kamuro 

'  J  to  7 

)  ")  ^  and  followed  by  a  maid  bearing  a  lantern. 

Chuban.  Signed :  Eishi  ga.  Publisher :  Izumi  ya.  About  1789. 


831.  KISEGAWA  OF  MATSUBAYA 

ATTENDED  BY  TWO  KAMURO  AND  A  SHINZO 

Chuban.  Signed :  Eishi  ga.  Publisher:  I wato-y a.  About  1789. 


832.  A  FAMILY  OUTING  IN  SPRINGTIME 


A  man  carrying  his  infant  son  along  a  path  through  rice 
fields,  accompanied  by  his  wife  and  a  maid. 

Oban.  Part  of  a  triptych.  Signed:  Eishi  ga.  About  1790. 


833.  WOMAN  AT  A  TEA=BOOTH  ON  ASUKA  HILL 

Oban.  Signed:  Eishi  ga.  About  1790. 


834.  WOMEN  WATCHING  A  CUCKOO  FLY  OVERHEAD 


o 


One  of  an  unnamed  series  ;  customs  of  the  twelve  months. 
This  for  the  third  month. 

Oban.  Signed:  Eishi  ga.  Publisher:  Eijudo.  About  1791. 


> 


835.  THE  FOURTH  MONTH 

Women  looking  at  iris  in  bloom  in  a  garden. 
Same  series  as  the  preceding. 


836.  THE  FIFTH  MONTH 

A  woman  looking  at  a  letter  spread  upon  the  ground ;  two 
other  women  conversing. 

Another  print  of  the  same  series. 


Fourth  Evening 


837.  FLOWER  VIEWING 

Three  girls  at  a  garden  party  in  the  time  of  the  cherry 
blossoming. 

Oban.  Part  of  a  triptych.  Signed:  Eishi  ga.  Publisher: 
Matsumura.  About  1790. 


838.  WOMEN  AT  A  PICNIC 

Oban.  Middle  sheet  of  a  triptych.  Signed:  Eislii  ga.  Publisher: 
Eijudo.  About  1792. 

839.  GENJI  ASAGAO  NO  MAKI 

A  young  man  representing  Prince  Genji,  seated  on  the 
veranda  of  a  house,  his  back  turned  to  two  women,  one 
seated  beside  him,  the  other  standing.  Asagao  (morning 
glories)  growing  over  a  fence  in  the  foreground. 

Oban.  Signed:  Eishi  ga.  About  1792. 


Fourth  Evening 


840.  GENJI  HANA  NO  EN 

Women  and  girls  at  a  botan  show. 

3^  Oban.  Signed'.  Eishi  ga.  Publisher,  Eijudo.  About  1792. 


Is 


841.  A  MODERNIZED  SCENE  FROM  THE  ISE  MONOGATARI 

A  youth  impersonating  Narihira  stands,  talking  to  two 
young  women. 

Oban.  Signed:  Eislii  ga.  Publisher :  Iwatoy a.  About  1T92. 


842.  MOMIJDGA:  THE  MAPLE  FETE 

Middle  sheet  of  a  triptych,  showing  two  women  coming 
0  forward  from  the  left,  and  another  woman  playing  a  tsuri- 

daiko  or  large  hanging  drum.  Series:  Furyu  Yatsu-shi 
Genji. 

Oban.  Signed:  Eishi  ga.  About  1790. 

Notable  for  the  free  use  of  several  yellows  in  the  color  scheme. 
The  blue  and  violet  softened  by  fading.  Trimmed  at  the  foot. 


0 


843.  FOUR  YOSHIWARA  BEAUTIES 

Oban.  Signed:  Eishi  ga.  Publisher,  Eijudo.  About  1793. 

844.  A  WOMAN’S  FIREFLY=CATCH ING  EXCURSION 

Oban.  Signed:  Eishi  zu.  Publisher :  I zumi  y a.  About  1793. 


Fourth  Evening 


845.  THE  OIRAN  UJIYAMA 

As  a  modern  representative  of  the  poet  Risen  Hoshi. 

Same  series  as  the  preceding. 

Superb  impression.  Perfect  condition. 

846.  THE  OIRAN  SHIRATSU=YA 

As  a  modern  representative  of  the  poet  Sojd  Henjd.  Series:  j  f  ^ 

Furvu  Ryaku  Rokkasen. 

Oban.  Sigjied :  Eishi  zu.  Publisher :  Eijudo.  About  1793. 

Fine  impression.  Perfect  condition. 

847.  UTAURA  OF  KADOTAMA=YA  AND  HER  KAMURO 

^7  0 

They  are  walking  in  the  Naka  no  Cho  near  the  great  gate 
of  the  Yoshiwara. 

Oban.  Part  of  a  triptych.  Signed:  Eishi  ga.  Publisher: 
Izumiya.  About  1793. 

848.  OTOMO  NO  KURONUSHI 

Seated  figure  of  the  famous  ninth  century  poet.  Poem 
above. 

Oban.  Signed :  Eishi  zu.  Publisher,  Eijudo. 


Fourth  Evening 


849.  SHIRATSU=YA  OF  WAKANA=YA 


2- 


Large  head  and  bust  portrait.  Series:  Ryaku  Rokkasen. 
Oban.  Signed:  Eishi  zu .  Publisher :  Nishimura  ya.  About 
1798. 

Superb  impression.  Perfect  condition. 

( Illustrated ) 


EISHO 

(Worked  c.  1790-1799) 

850.  THE  SEVEN  FORTUNE  GODS  IN  A  BOAT 

^  Hashira-e.  Framed.  Signed:  Eisho  ga.  Published  by  Yama- 

guchi. 

Much  faded. 


851.  KASUGANO  OF  SASA=YA 

Large  bead  and  bust  portrait.  She  is  shown  coming  from 
the  bath,  Arearing  a  yukata  (bath  robe)  and  wiping  her 
cheek  with  the  sleeve.  Series:  Kachu  Bijin  Soroi.  Mica 
ground. 

Oban.  Signed :  Eisho  ga.  Publisher :  Y amaguchi.  About  1798. 
Fine  impression.  Perfect  condition. 

( Illustrated ) 


852.  SHIRATSU=YA  OF  WAKANA=YA 

Large  head  and  bust  portrait.  She  is  shown  holding  a  gold 
fish  in  a  glass  bottle.  Dark  kirara-ye  (mica  composition) 
ground. 

Oban.  Signed:  Shoeido  Eisho  ga.  About  1798. 

In  very  fine  condition. 

( Illustrated ) 


EISUI 


(Worked  c.  1790-1798) 

853.  HANANDO  OF  OGI=YA 

Large  head  and  bust  portrait  of  the  beauty.  She  holds  a 
bottle  of  hair  oil  and  bends  over  to  read  the  hieroglyphs 
on  the  cloth  tied  about  the  stopper.  Series:  Bijin  Gosekku. 

Oban.  Signed:  Ichirakutei  Eisui.  Publisher :  Maru-bun.  About 
1798. 


( Illustrated ) 


852 


853 


Fourth  Evening 


EIKO 

(Worked  c.  1795-1799) 


854.  KOMURASAKI  OF  KADOTAMA=YA 

Large  head  and  bust  portrait.  Series:  Kachu  Bijin  Kisoi. 
q  Oban.  Signed :  Eiko  ga.  Publisher :  Y amaguchi.  About  1798. 


KITAGAWA  UTAMARO 

(B.  1753,  d.  1806) 

855.  GEISHA  MUSICIANS  IN  A  NIWAKA 


One  girl  plays  a  tsuri  daiko  (hanging  drum)  ;  another 
plays  a  samisen ;  and  a  third  is  standing  beside  her  koto 
(harp).  One  of  the  series:  Seiro  Niwaka  Jensei  Asobi : 
“Well-known  Niwaka  plays  by  Green-house  Girls.” 

Oban.  Signed:  Utamaro  hitsu.  Publisher :  Yama-fuji. 


856.  SHINOHARA  OF  TSURU=YA 

Another  large-head  portrait.  Same  series  as  the  preceding. 
The  girl  is  shown  adjusting  one  of  her  large  wooden  hair- 
X)  pins.  The  printer  omitted  to  charge  the  block  fully  so 

this  pin  is  white  while  the  others  and  the  girl’s  comb  are 
yellow.  Gray  ground. 

Fine  impression.  In  good  condition. 


Fourth  E venin g 


857.  HONSHO  MONO:  “GOOD  NATURE” 

Head  and  bust  of  a  girl  leaning  over  a  table,  writing 
Chinese  characters  in  a  copy-book.  One  of  the  series : 
Kyokun  Oya  no  Mekagami.  “Education  through  parent’s 
eye-glasses.” 

Oban.  Signed :  Utamaro  hitsu.  Publisher :  Tsuru-ya.  About 

1798. 

858.  SAIZABURO  DRESSING  THE  HAIR  OF  JOHACHI 

WHILE  OKOME  LOOKS  ON 

This  print  represents  the  characters  in  a  well-known  love 
story.  Okome  of  the  house  called  Shiroki-ya  was  in  love 
with  Obana  Saizaburd  the  barber;  and  the  tedai  (servant) 
Johaehi  was  deeply  in  love  with  her  and  jealous  of  Saiza¬ 
burd.  One  of  the  series,  Sen  Kakyo  Tsuki  no  Murasami. 
“A  thousand  mirrorings  of  clouds  across  the  moonlit  sky.” 
Oban.  Signed:  Utamaro  hitsu  About  1797. 

859.  YOSO=OI  OF  MATSUBA=YA 

Seated  with  a  kamuro  (girl  attendant)  by  her  side,  looking 
at  a  flower  arrangement  of  bignonias  in  a  hanging  bamboo 
holder. 

Oban.  Signed:  Utamaro  hitsu. 

Fine  impression ;  in  good  condition;  the  color  softened  by  fading. 


Fourth  Evening 


860.  BIJIN  GO  MEN=SO 

A  woman  fortune-teller.  Large  head  and  bust. 

Oban.  Signed:  Utamaro  liitsu.  Publisher :  Tsuru-ya.  About 

1798. 

861.  SCENE  FROM  THE  THIRD  ACT  OF  CHUSHINGURA 

Kanpei  witnesses  Okaru  repel  Bannai’s  attempt  to  embrace 
her. 

Circular  composition  on  an  oban.  Signed:  Utamaro  liitsu. 
About  1799. 

862.  SEGAWA  OF  OGI=YA  STANDING 

Her  kamuro  Oname  and  Menami  and  two  older  girls  are 
seated  in  a  group  beside  her.  Yellow  ground. 

Oban.  Signed:  Utamaro  hitsu.  Publisher:  Mur  at  a-y  a.  About 

1799. 

863.  BOATING  ON  THE  SUMIDA  RIVER 

Koban.  Signed:  Utamaro  hitsu. 

864.  TEKKAI  SENNIN 

Comic  representation  of  the  Rishi  Tekkai.  His  frog, 
seated  upon  his  head,  is  sending  its  spirit  heavenward 
where  it  is  revealed  as  Ebisu  the  purveyor  of  food. 

Narrow  panel.  In  gray  and  black.  Signed:  Utamaro  hitsu. 

865.  MUSASHI:  CHOFU  NO  TAMAGAWA 

“The  Chofu  Tama  river,  Province  of  Musashi.”  A  woman 
pounding  white  cloth  in  a  tall  wooden  tub,  as  a  part  of 
the  washing  process;  another  woman  seated,  smoking  a 
pipe ;  and  a  porter  bringing  baskets  of  cloth  to  be  washed. 
The  river  appears  as  a  winding  stream  in  the  background. 
Oban.  Series:  Furyu  Mu  Tamagawa.  Signed:  Utamaro  liitsu. 
About  1802. 

866.  KAYOI  KOMACHI :  “VISITING  KOMACHI” 

An  Ukiyo-e  analogue  of  the  repeated  visits  to  the  famous 
ninth  century  poetess  Ono  no  Ivomachi  by  a  persistent 
suitor.  Here  a  girl  is  sending  away  her  lover  who  turns 
his  back  to  receive  his  haori  (coat)  which  she  holds  and 
is  about  to  throw  about  his  shoulders.  One  of  the  series: 
Futabagusa  Nana  Ivomachi. 

Oban.  Signed:  Utamaro  hitsu.  About  1803. 

Fine  impression.  In  excellent  condition. 


Fourth  Evening 


867.  A  SCENE  FROM  THE  SIXTH  ACT  OF  CHUSHINGURA 

Also  its  analogue  in  real  life.  A  mother  sending  away  her 
daughter  who  has  been  sold  to  the  keeper  of  a  Yoshiwara 
house:  and  in  the  smaller  inserted  picture,  the  proprietor 
of  Ichimonji-ya  of  Gionmachi  calling  at  the  house  of 
Yoichibei  for  his  daughter  Okaru. 

Oban.  Signed:  Utamaro.  About  1804. 

868.  A  WOMAN  PLAYING  HANETSUKE 

Battledore  and  shuttlecock.  Another  woman  seated  on  a 
wooden  bench,  looks  on.  Part  of  a  triptych. 

Oban.  Signed :  Utamaro  hitsu.  About  1804. 

Fine  impression.  The  quality  of  the  black  in  the  kimono  of  the 
principal  figure  is  noteworthy. 

869.  THE  PERSIMMON  GATHERERS 

Right-hand  sheet  of  a  well-known  triptych. 

Oban.  Signed:  Utamaro  liitsu.  About  1804. 

Not  a  very  early  impression :  color  rather  strong.  Good  con¬ 
dition. 

870.  A  WOMAN’S  DAIMYO  CORTEGE  HALTING 

AT  THE  SEA  SHORE 

The  subject  is  an  Lkiyo-e  pleasantry  in  which  women  are 
substituted  for  the  noble  and  his  suite.  Middle  sheet  of  a 
triptych.  In  Utamaro’s  latest  manner. 

Oban.  Signed :  Utamaro  hitsu.  Publisher:  Wakasa-ya.  Prob¬ 
ably  1805. 

871.  A  WRITING  LESSON 

A  young  woman  seated  before  a  writing  desk,  writing  on 
a  roll  of  paper.  A  girl  on  the  other  side  of  the  table  is 
showing  her  writing  in  a  copy  book  to  an  older  woman 
who  stands  behind  the  others.  An  inscription  gives  a 
summary  of  the  development  of  calligraphy  from  ancient 
times  when  the  first  brushes  used  were  made  of  splints  of 
wood  tied  together  with  rice  straw. 

Oban.  Signed:  Utamaro  hitsu.  Publisher:  Izumi-ya.  About 
1805. 

Fine  impression.  Condition  perfect  scire  for  a  few  moth  holes. 


Fourth  Evening 


872.  YOUNG  MAN  LOOKING  DOWN  AT  A  GIRL 

HOLDING  A  SPY=GLASS 

One  of  an  Ukiyo  Hakkei  series. 

Hashira-e.  Signed :  Utamaro  ga.  About  1798. 


873.  BOATING  PARTY  UNDER  A  BRIDGE 

A  woman  standing  has  caught  a  small  fish  with  a  rod  and 
line;  a  man  seated  leans  over  the  rail  to  wash  a  sake  cup 
and  his  figure  is  reflected  in  the  water. 

Wide  hashira-e.  Signed :  Utamaro  liitsu. 

Good  impression.  Trimmed  slightly  at  the  foot  and  someivhat 
toned. 

874.  PEONIES 

A  leaf  from  a  paper  manufacturer’s  sample  book,  issued 
about  1850. 

Lateral  format  6%  x  18%  inches.  Signed  in  gauffrage,  Uta¬ 
maro  ga. 


UTAMARO  II 


(Worked  in  Bunka  period,  1804-1817) 


875.  A  YOUNG  WOMAN  READING  A  BOOK 


One  of  the  series  Ju-go  Ivirio  Soroi.  Competition  of  skill 
between  fifteen  children.  A  small  picture  of  the  village 
of  Chikubashima  adjoins  the  label  upon  which  the  series 
title  is  engraved. 

Oban.  Signed:  Utamaro  liitsu.  Publisher :  Eijudo.  Seal  date, 
1807. 


EISHOSAI  SHIKO 

(Worked  c.  1785-1800) 

JORURI  MITATE  HAKKEI 

Eight  views  of  famous  eloping  lovers.  Complete  set  of  eight  prints. 
Narrow  yoko-e.  Signed:  Sliiko  ga.  About  1798. 


876.  OSOME  AND  HISAMATSU 

The  woman’s  name  is  mentioned  first. 


877.  KYOKAWA  AND  BUNSHICHI 


Fourth  Evening 


878.  UMEGAWA  AND  CHUBEI  /  © 

879.  OHATSU  AND  TOKUBEI  /0 

And  the  girl’s  mother  searching  for  them. 


880.  OHANA  AND  HANSHICHI 

881.  OHAN  AND  CHOEMON 

882.  KOINA  AND  HAMBEI 

883.  OMME  AND  KUMANOSUKE 


884.  THE  DOLL  FESTIVAL 

Two  women  engaged  in  preparations  for  the  festival.  One 
of  them  carries  a  bunch  of  blossoming  cherry  branches 
and  a  box  containing  a  doll.  Series,  Azuma  F uzoku  Go- 
sekku  Awase. 

Oban.  Signed:  Shilco  g a.  Publisher,  Matsugasu.  About  1798. 


Fourth  Evening 


897.  MINO  YORO  NO  TAKI 


The  Yoro  Fall  in  Mino  province. 

Very  fine  impression. 

SHIKA  SHA-SHIN  KYO 


The  Imagery  of  the  Poets  of  China  and  Japan.  Seven  of  the 
series  of  ten  kakemono-e. 

Signed :  Zen  Hokusai  I-itsu  liitsu.  Publisher :  Mori-ya  Jihei. 


s 


898.  SHONENKO 

This  is  the  Japanese  pronunciation  of  a  famous  Chinese 
poem  on  the  pleasure  of  travel.  Hokusai  shows  Chinese 
travellers  on  horseback  on  a  road  by  a  lake  where  a  man  is 
fishing. 


899.  HARUMACHI  NO  TSURAKI 

The  poet  and  attendants  crossing  a  bridge  across  a  rapidly 
flowing  river. 


ns 


900.  SEISHONAQON 

Hokusai  here  illustrates  Seishonagon’s  famous  ode  about 
Moshokun  at  the  barrier  gate  which  could  not  be  opened 
until  cockcrow,  so  one  of  his  attendants  climbed  a  tree 
and  imitated  a  cock  so  successfully  that  the  gate  was 
opened  for  them  to  pass. 

Fine  impression  in  very  good  condition. 


( Illustrated ) 


901.  HAKURAKUTEN 

Japanese  rendering  of  the  name  of  the  Chinese  poet  Po 
Chii-i  who  is  shown  seeking  the  advice  of  a  sage  who  spent 
his  time  in  fishing. 


902.  TOKIWA  DAIJIN 

The  noble  poet  and  two  attendants  upon  the  bank  of  a 
river ;  the  crescent  moon  of  the  third  day,  overhead. 


903.  ABE  NO  NAKAMARO 


The  poet  being  starved  to  death  in  China  after  having  been 
graciously  received  and  feasted  by  the  Emperor. 

Fine  impression.  In  fair  condition. 


900 


904 


Fourth  Evening 


904.  TOKUSA  KARI 

Collecting  tokusa,  a  kind  of  flowering  rush.  An  old  farmer 
~  is  crossing  a  bridge  carrying  bundles  suspended  from  the 

ends  of  a  pole.  Here  the  poet  is  perhaps  Hokusai  him¬ 
self. 

( Illustrated) 


CHI-E  NO  UME 

A  thousand  pictures  of  the  sea.  Nine  prints  of  the  ten  com¬ 
prising  this  extremely  rare  series. 

La  teral  chuban.  Signed :  Zen  Hokusai  Iitsu. 


905.  SOSHU  URAGA 

^  Fishing  from  the  rocks  at  Uraga  in  Soshu. 

906.  MACHIAMI 

Fishing  with  nets  in  the  rapids  below  the  great  fall. 

907.  GOTO,  KUJIRA  TSUKE 


V 


Towing  a  whale  to  the  shore  at  Goto. 

908.  SHIMOSA  NOBUTO 

Gathering  marine  creatures  on  the  sands  at  Nobuto  at  low 
tide. 


Fourth  Evening 


909.  KINUKAWA  HACHIFUSE 

Recovering  iron  from  the  bed  of  the  river  Kinu. 


n 


910.  KOSHU  HIBURI 

Night  fishing  with  flares  at  Hiburi  in  Koshu. 


911.  KAYABARI  NAGARE 

Fishing  with  rod  and  line  in  the  stream  at  Kayabari.  Q  6 

912.  SOSHU  TONEGAWA 

Fisherman  in  a  boat  on  the  Tone  river  hauling  in  a  net.  ! 


913.  SOSHU  CHOSHI 

Surf-fishing  from  boats  off  a  point  of  land  in  Sbshu. 
Superb  impression.  Immaculate  condition. 


HOKKEI 

TOSHI  GAFU  ZU 

Illustrations  of  Chinese  Poems.  Two  prints  of  the  series. 

Koban.  Printed  in  blues  and  salmon  pink.  Signed :  Hokkei. 

914.  ON  THE  HEIGHTS 

A  man  standing  on  a  rocky  crag  and  looking  at  a  peak  ^ 
rising  above  an  intervening  cloud-filled  valley. 


Fourth  Evening 


915.  LANDSCAPE 

^  t>  A  river  flowing  out  from  a  lake  surrounded  by  rugged  hills. 

916.  THE  TEMMANQU  SHRINE 

Seen  from  the  river  through  morning  fog. 

La  teral  chuban.  Signed :  Hokkei. 


917.  AUTUMN  MAPLES  ON  THE  TATSUTA  RIVER 

/  Double  page  print,  8  x  12  inches  from  a  volume  of  poems.  Signed 

Hokkei. 


SHOIvOKU  MEISHO 

“Famous  sights  in  the  home  country.”  Eight  prints  of  the  series 
of  which  thirteen  are  known. 

Narrow  yoko-e.  Signed, :  Aigaoka  Hokkei. 

918.  SHIMOTZUKE.  NIKKO=SAN  URAMI  QA  TAKI 

“The  waterfall  one  can  see  from  behind,  at  Nikko,  province 
'y  of  Shimotzuke.”  Men  on  a  log  bridge  peering  at  a  great 

i  >  curving  fall  from  the  under  side. 


Fourth  Evening 


919.  BUSHU.  SUMIDA  GAWA 

A  ferry  boat  crossing  the  river  in  a  heavy  downpour  of 
rain. 

This  rare  print  is  a  characteristic  example  of  the  work  of 
Hokkei  at  his  best. 


920.  JUSHU.  MIKUNLGOE  FUDO  TOGE 

“The  Fudo  protector  of  the  Mikuni  pass.”  The  ghostly 
form  of  Fudd  (Japanese  name  of  the  Deva  Vairocana)  ap¬ 
pears  on  the  hillside  above  a  small  waterfall  under  which 
a  man  assists  a  woman  to  wash  her  hands. 


921.  SUNSHU.  OMI YAGUCHI  TOZAN 

Pilgrims  beginning  the  ascent  of  Fuji  at  Omiyaguchi.  Long 
rays  from  the  morning  sun  illuminate  the  slope. 


922.  IZU.  MAISHI  NO  AMIDA 

The  stone-horse  Amida,  province  of  Izu.  Man  in  a  boat 
beside  a  great  arched  rock  on  the  sea  coast. 


923.  ECHIGO.  OYASHIRAZU 

Surf  at  Oyashirazu  province  of  Echigo.  The  name  of  the 
place  signifies  “Parents,  take  warning,”  i.  e.  to  keep  chil¬ 
dren  out  of  reach  of  the  waves. 


Fourth  Evening 


924.  NAQATO.  NUNOKARI  JINJI 

Shint5  festival  at  Nunokari,  province  of  Nagato.  Two 
shicho,  one  carrying  a  flaming  torch,  dash  along  a 
narrow  tongue  of  land  momentarily  exposed  between  the 
gigantic  waves  of  a  heavy  surf. 


925.  SURUGA.  SATTA  TOGE 

Satta  pass  in  winter,  clad  in  a  mantle  of  snow.  At  the 
left  travellers  toil  up  the  ascent :  at  the  right  the  blue 
water  of  the  bay  and  snowy  hills  beyond. 


KATSHUSHIKA  TAITO 

(Worked  c.  1810-1850) 

These  prints  are  often  attributed  to  Hokusai  but  are  now  known 
to  be  by  his  pupil  Kameya  Saburo  to  whom  Hokusai  gave  his  Taito 
name. 


926. 


MOUNTAIN  LANDSCAPE 

In  white  reserve  on  a  dark  blue  field. 
Half  block  vertical  panel.  Signed :  Taito. 


927. 


n  / 


TEKKAI  SENNIN 

Narrow  vertical  panel. 


928.  HOT  El 


Signed:  Katsushika  Taito. 


|i 


Seated  on  his  great  bag  of  precious  things. 
Narrow  vertical  panel.  Signed:  Katsushika  Taito. 


929.  PINK  CHERRY  BLOSSOMS  AND  BULLFINCHES 

Narrow  vertical  panel.  Signed :  Katsushika  Taito. 

930.  A  CARP  IN  RAPID  STREAM;  AND  A  POEM 

Oban.  Signed:  Katsushika  Taito. 


KYUZAN  GAKUTEI 


(Worked  in  the  first  half  of  the  nineteenth  century) 

931.  TEMPOZAN  SUEHIRO  BASHI  TSUKI  YO  NO  ZU 

View  of  Suehiro  bridge,  Tempozan,  on  a  moonlight  evening. 
Yoko-e.  Signed:  Gogaku. 

At  a  recent  auction  in  Tokyo  an  impression  of  this  print  fetched 
two  hundred  yen. 


Fourth  Evening 


932.  OSAKA  TEMPOZAN  YUDACHI  NO  KEI 

A  junk  laboring  in  a  heavy  storm  off  Tempozan  in  Osaka 
harbor. 

Yofco-e.  Signed :  Gogaku. 


HIROSHIGE 

(B.  1797,  d.  1858) 

THE  MARUSEI  TOIvAIDO 

Forty-two  prints  of  the  Tbkaido  set  published  by  Marusei  about 
1843. 

1  oko-e.  Signed :  Hiroshige  ga. 

933.  KAWASAKI  (No.  3) 

G 

Two  ferry  boats  crossing  the  river  and  a  loaded  barge  )  2* 
coining  up  the  stream  under  sail. 


934.  KANAGAWA  (No.  4) 

A  row  of  tea-houses  between  the  highway  and  the  shore  of 
Edo  bay. 


!> 


-O 


935.  HODOGAYA  (No.  5) 

Snow  scene.  Shin-kame  bridge  and  houses  at  each  end.  / 
Fin e  i m pres s ion. 

936.  TOTSUKA  (No.  6) 

The  highway  bordered  by  pine  trees  at  the  left;  Fuji  at 
the  right. 

937.  HIRATSUKA  (No.  8) 

The  Nawate  highway  across  the  fields;  the  village  in  the 
distance. 

Fine  impression. 

938.  HIRATSUKA  (No.  8) 

Another  impression. 


^0 


Fourth  Evening 


1 


939.  ODAWARA  (No.  10) 

Porters  carrying  travellers  across  the  ford  of  the  Sako 


river. 


940.  HAKONE  (No.  11) 


A  traveller  in  a  kago  being  carried  over  the  pass  by  night. 


941.  MISHIMA  (No.  12) 

The  village  street ;  two  inns  on  its  further  side ;  in  the  fore¬ 
ground,  trees  and  the  torii  of  a  Shinto  shrine. 

Fine  impression. 


942.  NUMAZU  (No.  13) 

The  narrow  Miho  no  Matsubara  peninsula  in  the  fore- 
ground:  Fuji  towering  above  a  range  of  hills  in  the  dis¬ 
tance. 


943.  HARA  (No.  14) 


S' 

)> 


The  great  cone  of  Fuji  seen  against  a  deep  blue  sky,  across 
the  rice  fields  and  two  ranges  of  foot-hills. 

Fine  impression. 


944.  YOSHIWARA  (No.  15) 

A  group  of  travellers  at  the  right, 
horse.  Fuji  in  the  distance. 

Fine  impression.  Margins  trimmed  off. 


one 


a  woman  on 


a 


1 


V 


945. 


KAMBARA  (No.  16) 

Ferry  boats  on  the  Fujikawa ;  the  white  cone  of  Fuji  lifting 
above  the  green  hills  along  the  river. 


946.  YUI  (No.  17) 

The  inn  on  the  beach  at  the  foot  of  Satta  peak. 
Fine  impression. 


|1 


947.  OKITSU  (No.  18) 

y  Junks  sailing  along  the  coast:  Fuji  in  the  distance. 


I 


948.  EJIRI  (No.  19) 

Fuji  seen  across  the  bay  which  is  dotted  with  the  white 
sails  of  fishing  boats. 


0 


Fourth  Evening 


949.  FUCHU  (No.  20) 

Travellers  arriving  at  and  departing  from  the  inn  at  night. 
Very  fine  impression. 


950.  OKABE  (No.  22) 

The  road  up  Utsu  hill. 


951.  FUJIEDA  (No.  23) 

A  gray  sky  and  rain  beginning  to  fall.  Wayfarers  on 
the  road  across  the  rice  fields,  with  hastily  improvised 
protection  from  the  shower. 


952.  SHIMADA  (No.  24) 

The  ford  across  the  Oi  river;  Fuji  in  the  distance.  /jT* 

953.  KANAYA  (No.  25) 

View  of  Kanaya  hill  and  the  Oi  river.  )  N 

954.  NISSAKA  (No.  26) 

The  great  pine,  and  the  “Night-crying  Stone”  of  Saya  no 
Nakayama.  The  stone  marks  the  place  where,  in  ancient 
times,  a  woman  was  murdered,  and  it  is  reputed  to  give 
out  sounds  at  night  like  the  crying  of  a  human  being. 

Fine  impression. 


955.  HAMAMATSU  (No.  30) 

A  storm  approaching  across  the  sea.  7  ^ 

Fine  impression  of  a  much  admired  print. 

956.  MAIZAKA  (No.  31) 

Porters  carrying  bales  of  goods  on  board  sail  boats  drawn 
up  to  the  shore.  Imaki  point  in  the  background. 

957.  MAIZAKA  (No.  31) 

Another  impression.  b 

958.  ARAI  (No.  32) 

A  iew  across  the  ba}r :  the  white  cone  of  Fuji  showing  above 
the  horizon. 


959.  ARAI  (No.  32) 

Another  impression. 


Fourth  Evening 


960.  FUTAGAWA  (No.  34) 

Travellers  resting  at  the  post  station. 

961.  YOSHIDA  (No.  35) 

The  Tennd  sairi,  15th  day  of  the  6th  month.  Villagers 
*2  watching  the  festival  procession  as  it  debouches  upon  the 

beach. 


962.  GOYU  (No.  36) 

The  old  road  by  the  river  at  Honnoga;  Fuji  san  on  the 
horizon. 


963.  AKASAKA  (No.  37) 

The  inns  and  shops  along  the  village  street. 

964.  FUJIKAWA  (No.  38) 

^  A  daimyo  procession  coming  down  the  road  between  the 

hills. 


965.  OKAZAKI  (No.  39) 


The  advance  guard  of  a  daimyo  procession  crossing  the 
bridge  over  the  Yakagi  river. 


<>66.  CHI  RYU  (No.  40) 

Porters  bearing  bales  of  merchandise  along  the  highway 
on  a  festal  day- 


967.  NARAMI  (No.  41) 

The  village  street  with  shops  for  the  sale  of  dyed  cotton 
3?  cloth. 


968.  MIYA  (No.  42) 

^  The  harbor.  Boats  at  anchor  at  the  right;  the  “Awaken- 

^  ing  from  sleep”  point  at  the  left. 

969.  ISH I YAKUSH I  (No.  45) 

Travellers  halting  at  the  post  station. 

j>  b  h 

970.  SHONO  (No.  46) 

A  cold  morning.  Men  warming  themselves  at  a  fire  built  on 
)  ~V  the  highway. 


Fourth  Evening 


971.  KAMEYAMA  (No.  47) 

The  road  by  the  castle  moat. 

Good  impression,  but  in  poor  condition. 


972.  SAK  A=NO=SH  ITA  (No.  49) 

Morning  scene  on  the  highway.  The  man  carrying  a  large 
red  mask  in  a  box  on  his  back  is  returning  from  a  pil¬ 
grimage  to  the  Kompira  shrine,  island  of  Shikoku. 

973.  SAKA=NO=SH  ITA  _  b'0 

Another  impression.  / 


974.  TSUCH  UYAMA  (No.  50) 

Travellers  on  the  road  by  the  river. 


975.  MIZUKUCHI  (No.  51) 

A  man  leading  a  laden  carabao  up  the  road  between  green 
hills  upon  which  cedars  are  growing. 

Fine  impression. 


976.  MIZUKUCHI  (No.  51) 

Another  impression ;  condition  not  quite  so  good.  / 


cO 


977.  KUSATSU  (No.  53) 


-0 


The  ferry  to  Yabase  across  Lake  Biwa.  /  V 


978.  KYOTO  (No.  55) 

A  ieiv  from  the  Sanjo  bridge. 


THREE  SERIES  OF  SHOKOKU  MU  TAMA-GAWA 

the  Mu  Tama-gawa,  or  six  Tama  rivers  in  as  many  provinces, 
have  furnished  favorite  themes  for  many  Japanese  poets  and  painters. 
It  is  usual  to  typify  each  river  by  the  representation  of  a  well-known 
incident  mentioned  in  a  classic  ode. 


The  half  block  panel  set. 

Size,  15x5  inches.  Signed:  Hiroshige  ga.  Published  bp  Fu ji¬ 
lt  iko. 

979.  MUSASHI.  CHOFU  NO  TAMA=GAWA 

A  woman  washing  cloth  in  the  river.  The  cloth  has  been 
placed  on  a  rock  near  the  shore  and  she  stands  upon  it 
with  bare  feet. 


Fourth  Evening 


980.  MUTSU,  NODA  NO  TAMA=GAWA 


A  court  lady  standing  on  the  grassy  river  bank  and  holding 
a  large  green  hat.  A  flock  of  chidori  (sanderlings)  flies 
by  overhead. 


981.  SETTSU,  KINUTA  NO  TAMA=GAWA 

Two  women  seated  on  the  river  bank  on  a  moonlight  even¬ 
ing,  fulling  cloth  by  the  kinuta  process  of  beating  it  with 
large  wooden  pounders. 


982.  YAMASHIRO,  IDE  NO  TAMA=GAWA 


The  poet  Narihira  on  horseback,  fording  the  river  and 
admiring  the  yamabuki  in  bloom  upon  its  banks. 


983.  YAMATO,  NOJI  NO  TAMA=GAWA 

Narihira  standing  on  the  bank  thickly  overgrown  with  hagi 
(bush  clover)  and  looking  at  the  reflection  of  the  moon  in 
the  water. 


984.  KII,  KOYA  NO  TAMA=GAWA 


i 


A  noble  youth  holding  a  flower  bucket  and  standing  upon 
a  bridge  built  across  a  deep  chasm  into  which  a  waterfall 
plunges. 


3 


o 


The  Tsuta-ya  set.  Two  prints  of  the  six. 

Yoko-e.  Signed :  Hiroshige  go.  Published  by  Tsuta-ya  Kichizd. 
About  1840. 

985.  YAMATO,  NOJI  NO  TAMA=GAWA 

Narihira  looking  at  the  moon  reflected  in  the  water;  his 
servants  seated  behind  him. 


986.  SETTSU,  KINUTA  NO  TAMA=GAWA 


Women  fulling  cloth  by  moonlight. 


Fourth  Evening 


The  Maru-kyu  set. 

Oban,  Signed :  Hiroshige  ga.  Published  by  Maru-kyu.  Seal 
date  1857. 

987.  MUSASHI,  CHOFU  NO  TAMAGAWA 

On  the  banks  of  the  river  women  are  washing  clothes  and 
pounding  them  in  a  wooden  tub.  Willow  trees  are  in  the 
middle  distance,  and  Fuji  in  the  background. 

988.  MUTSU,  NODA  NO  TAMAGAWA 

A  court  lady  with  an  old  retainer  seated  by  her,  looking  at 
sanderlings  flying  over  the  stream. 

989.  SETTSU,  KINUTA  NO  TAMAGAWA 

Women  fulling  cloth  by  moonlight.  The  landscape  printed 
in  soft  tones  of  Chinese  ink. 

Fine  impression. 

990.  YAMASHIRO,  IDE  NO  TAMAGAWA 

Narihira  and  his  attendants  halting  to  look  at  the  yellow 
yamabuki  blossoms.  Beyond  the  river  are  grassy  hillocks 
with  cherry  trees  in  bloom,  and  in  the  distance  is  the  gray 
mass  of  a  mountain. 

Fine  impression. 

991.  YAMATO,  NOJI  NO  TAMAGAWA 

Here  there  is  a  setting  of  soft  yet  rich  greens  and  blues, 
bringing  out  effectively  the  poet  and  his  attendants  who 
gaze  at  the  reflected  moon  in  the  water. 

992.  KII.  KOYA  NO  TAMAGAWA 

The  river  coming  down  over  a  hillside  at  the  right  and 
flowing  through  a  broad  valley  where  a  stout  priest  dressed 
in  red,  with  a  green  kesa,  and  attended  by  a  servant,  stands 
looking  at  the  swift  current. 

EDO  KOMEI  KAITEI  ZUKUSHI 

“Famous  Tea-houses  of  Edo.”  Two  prints  of  the  series. 

Yoko-e.  Signed :  Hiroshige  ga.  Published  by  Fuji-hiko. 

993.  TAMA=YA.  KAMEIDO  URA  MON 

The  Tama  tea-house  at  the  Ura  gate  to  the  Temmangu 
shrine  at  Ivameido. 


Fourth  Evening 


994.  SUSAKI.  MUSASHI=Y A 

The  Musashi  tea-house  at  Susaki. 
morning  in  winter. 


View  at  sunrise  on  a 


GO-JU-SAN  TSUGI  MEISHO  ZU  KAI 

Fifty-three  post-stations,  famous  places  picture  collection.  Thir¬ 
teen  prints  of  the  series  known  as  the  “Upright  Tdkaido  set.” 

Oban.  Signed:  Hiroshige  ga.  Published  by  Tsuta-ya  Kichizo 
1855. 


> 


'0 


995.  NIHON  BASHI.  SHINONOME  NO  KEI 

Early  morning  view  of  Nippon  bridge. 


Is- 


'i 


996.  HODOGAYA.  SAKAKI  NO  TATEBA  KAMAKURA 

YAMA  DO  NOZOMU 

Distant  view  of  the  Kamakura  mountains  from  the  Sakaki 
rest  house  at  Hodogaya. 

997.  HIRATSUKA.  BANYUGAWA  FUNA  WAT  ASH  I 

Ferry  boats  crossing-  the  Banvu  river  at  Hiratsuka. 


1 


998.  HIRATSUKA 

S  Another  impression  in  darker  colors.  Later  edition. 

999.  NUMAZU.  ASH IGARA=YAM A  FUJI  HIRU  HARE 

>'5  Ashigara-yama  and  Fuji  seen  from  Numazu  on  a  clear 

noon-day  after  a  snowfall. 

>5-  1000.  YOSHIWARA.  FUJI  NO  NUMA  NARUSHIMA  OA  MARA 


ir 


Fuji  swamp  and  Narushima  field  at  Yoshiwara;  Fuji-san 
in  the  distance. 


1  * 


!> 


1001.  OKABE.  KATAZU  NO  YAMA  TSUTA  NO  HOSOMICHI 

Mount  Ivatazu  and  the  Ivy  path  at  Okabe. 

1002.  NISSAKA.  SAYO  NO  NAKAYAMA  MUQEVZAN  EMBO 

Distant  view  of  Mount  Mugen  from  Sayo  no  Nakayama 
Nissaka. 

1003.  HAMAMATSU.  MEISHO  ZAZANZA  NO  MATSU 

The  Zazanza  Pine-tree,  famous  sight  at  Hamamatsu. 


Fourth  Evening 


1004.  FIJIKAWA.  SANCHU  NO  SATO  KYUMEI 

Snow  scene.  The  mountain  village  of  Fujikawa  formerly 
called  Kyumei. 

1005.  FUJIKAWA 

L 

Another  impression,  with  a  dark  sky  and  shadow  at  the  }  n  - 
foot.  '  ' 

Later  edition. 


1006.  MAIZAKA,  IMAKIRI  KAIJO  FUNA  WATASHI 

The  Ferry  to  Imakiri  from  Maizaka. 


10 


1007.  SHI  NAG  AW  A.  GOTENYAMA  YORi  EKI  CHU  O  NOZOMO 

Looking  down  upon  Shinagawa  from  Gotenvama. 


OMI  HAKKEI 

Two  prints  of  the  “upright  set.” 

Oban.  Signed :  Hiroshige  ga.  Published  by  Eikichi. 
Snake  Year,  1857. 


Dated 


1008.  HIRA  NO  BOSETSU 


Evening  snow  on  Mount  Hira,  seen  from  across  Lake  Biwa. 


1009.  KARASAKI  YAU 


Night  rain  at  Karasaki. 


)t> 

i  * 


ROKU-JU-YO  SHU  MEISHO  ZU  KAI 


“Famous  Sights  in  the  Sixty-odd  Provinces.”  Ten  prints  of  the 
set  of  sixty-nine. 

Yoko-e.  Signed:  Hiroshige  ga.  Published  by  Koshimura  Hei- 
suke. 


1010.  MUSASHI.  SUMI DA=GAWA  YUKI  NO  ASA 

Snowy  morning  on  the  Sumida  river,  province  of  Musashi. 
Dated  1853. 

Unusually  good  impression.  Soft  color. 


1011.  WAKASA.  RYOSEN  KARE  AMI 

Seining  flounders  off  the  coast  of  Wakasa. 
Dated  1853. 


5 


Fourth  Evening 


1012.  TOSA.  KAIJO,  KATSUO  TSURE 

Mackerel  fishing  in  the  sea  off  the  Tosa  coast. 
Dated  1855. 

Exceptionally  fine  impression. 


1013.  IZUMO.  OYASHIRO  HOTO=HOTO  NO  ZU 


View  of  the  Hoto-hoto  ceremony  at  Oyashiro  in  Izumo. 
Dated  1858. 


1014.  KAZUSA.  YASASHI  QA  URA  TSUMYO  KU=JU=KI  RI 

Yasashi  beach,  caller  the  Ninety-nine  Ri  beach,  province  of 
Kazusa. 

Dated  1858. 

Fine  impression,  but  has  been  trimmed  down,  especially  on  the 
left  side,  where  the  signature  of  the  engraver  Take  remains  but 
not  that  of  Hiroshige. 


1015.  NAGATO.  SH1MONOSEKI 

The  harbor  of  Shimonoseki. 
Dated  1856. 


0 


1016.  HIGO.  GOKANOSHO 

The  natural  bridge  at  Gokanosho  in  Higo. 

Dated  1856  on  the  margin  which  has  been  trimmed  off. 


1017.  HARIMA.  MAIKO  NO  HAMA 

Maiko  beach  in  Harima. 

Dated  1853. 

Some  white  lines  due  to  defective  register  have  been  touched  out 
with  water  color. 


1018.  KAI.  SARUHASHI 

The  Monkey  Bridge  in  the  province  of  Ivai.  This  is  not 
the  rare  Saruhashi  print  but  is  another  treatment  of  the 
same  subject. 

Dated  1853. 


Fourth  Evening 


1019.  YAMASHIRO  TATSUTA  YAMA;  TATSUTA=GAWA 

Tatsuta  mountain  and  the  Tatsuta  river,  famous  for  its 
maple  trees,  province  of  Yamashiro. 

Engraved  by  Take.  Dated  1853. 

Exceptionally  fine  impression.  In  perfect  condition. 

1020.  KOZUKE.  MAKINA  YAMA  SETCHU 

Mount  Makina  in  falling  snow. 

Dated  1853. 


FUJI  SAN-JU-ROIv-KEI 

Thirty-six  views  of  Fuji.  Three  prints  of  this  series. 

Oban.  Signed:  Hiroshige  ga.  Published  by  Tsuta-ya  Kicliizo. 
Dated  fourth  month  Horse  Year  (1858,  four  months  before 
Hiroshige’s  death),  but  published  in  1859. 

1021.  TOTO.  SUKIYAGASHI 

Fuji  seen  from  Sukiyagashi  in  Edo. 

Good  impression.  The  red  of  the  signature  label  has  been  toned 
down  by  the  application  of  chemicals. 


Fourth  Evening 


1022.  KAI.  MISAKA  GOE 

View  from  the  Misaka  Pass  in  Kai. 


1023.  KAI.  OTSUKI  NO  HARA 

View  from  a  meadow  at  Otsuki  in  Kai. 


FUJI  SAN-JU-ROK-KEI 

Thirty-six  Views  of  Fugi.  Sixteen  prints  of  the  half-block  set 
published  by  Sano-ki  in  1852. 

Fine  impressions  are  very  rare. 


1 


1024.  THE  MOUNTAIN  SEEN  FROM  NIHON  BASHI  EDO 

1025.  6  EDO  SHICHU  TANABATA  MATSURI 

Fuji  seen  from  “great  Edo”  when  the  city  is  decorated  for 
the  Tanabata  festival. 


1026.  TOTO  SUMIDA  ZUTSUMI 

View  from  the  Sumida  embankment  when  cherry  trees  are  in 
bloom. 

Fine  impression.  Perfect  condition. 


b 


1027.  TOTO  KINOSHITAGAWA  TAMBO 

Fuji  seen  from  a  rice  field  at  Kinoshitagawa. 
Fine  impression. 


1028.  VIEW  OF  FUJI 

|  0  From  the  Tama  river  in  Musashi. 


1029.  MUSASHI  HONMOKU  KAIJO 

View  from  the  sea  at  Honmoku. 
Fine  impression. 


1030.  TOKAIDO  OISO  NAWATE 

Fuji  seen  from  the  entrance  to  Oiso  on  the  Tokaido. 
Fine  impression. 


Fourth  Evening 


1031.  KAZUSA.  TENJINYAMA  KAIGAN 

View  from  the  beach  at  Tenjinyama  in  Kazusa. 

1032.  KAZUSA  KISARAZU  KAIJO 

Fuji  seen  from  the  sea  off  Kisarazu  in  Kazusa. 

1033.  KAI  KATSURAYAMA  URA  FUJI 

View  of  Mount  Katsura,  province  of  Kai,  Fuji  in  the  dis¬ 
tance. 

Fine  impression. 

1034.  KAI  OTSUKI  NO  HARA 

View  of  Fuji  from  a  field  at  Otsuki  in  Kai. 

1035.  KAI  KENMOKU  TOGE 

Fuji  seen  from  the  Ivenmoku  pass  in  Kai. 

1036.  SAGAMI  SHICHURI  GA  HAMA  FU=H A 

Fuji  seen  through  heavy  surf  at  Seven-ri  beach. 

Fine  impression. 

1037.  SURUGA  FUJIKAWA 

View  of  Fuji  from  the  Fuji  river  in  the  province  of  Suruga. 
Fine  impression. 

1038.  SURUGA  SATTA  TOGE 

View  of  Fuji  from  the  Satta  pass  in  Suruga. 

Fine  impression. 

1039.  TSURUGA  FUJUNUMA 

The  mountain  seen  from  the  Fuji  swamp  in  the  province 
of  Suruga. 

Exceptionally  fine  impression. 


F  0 

7-^ 

S 


fT 


Five  prints  of  the  fish  sereis. 

Yoko-e.  Signed :  Hiroshige  ga.  Publisher,  Eijudo. 

1040.  HIRAME  AND  MEBARI 

Plaice  and  mebari? 


Fourth  Evening 


1041.  KURUMA=EBI  AND  AJI 

Crayfish  and  horse  mackerel. 

1042.  KANI  AND  SABA 

Crab  and  mackerel. 

1043.  KATSUO 

Bonito. 


1044.  AYU 

Trout. 


IvACHO.  FLOWERS  AND  BIRDS 

The  kach5  prints  designed  by  Hiroshige  are  distinguished  by  fine 
poetic  feeling  and  wonderful  draughtsmanship.  Among  them  are  many 
masterpieces.  Early  impressions  are  much  finer  than  later  ones  but 
they  are  extremely  rare. 

Half-block  vertical  panels. 

Size,  about  14^/2  x  5  inches. 


1045.  WHITE  HERON  AND  RUSHES 

A  remarkable  design. 

Not  first  edition.  Somewhat  toned. 


1046.  BAMBOO  AND  SPARROW 


1048. 


Fine  impression.  Several  large  holes  neatly  repaired  so  as  not 
to  be  very  noticeable. 

GUELDER  ROSE  AND  KINGFISHER 

Late  impression.  In  good  condition. 

FALCON,  SWALLOW,  AND  NARCISSUS 

A  falcon  on  a  perch  and  a  swallow  flying  overhead;  nar¬ 
cissus  in  low  corner. 


Fine  impression.  Perfect  condition. 


^  1049.  ASTERS  AND  CRANE 

Fs  '  Fine  impression.  Some  moth  holes  have  been  neatly  patched. 

1050.  ROSE  AND  YELLOW  BIRD 

|  1/  Not  an  early  impression,  but  in  very  good  condition. 


1051.  A  CRANE  WADING  IN  A  STREAM 

Bush  Clover  in  bloom  on  the  Bank. 

Good,  though  not  a  very  early  impression.  In  fine  condition. 


Fourth  Evening 


1052 


1053 


1052.  WISTARIA  AND  SPARROW 

Pale  blue  ground. 

Fine  early  impression. 

1053.  WISTARIA  AND  CANARY  ^  £ 

Very  fine  impression.  Slightly  toned. 

1054.  RED  HIBISCUS  (FUYO)  AND  PHEASANT  2-S 

Late  impression;  good  condition. 

1055.  PASSION  VINE  AND  KINGFISHER 

Good  impression.  Perfect  condition. 

1056.  POPPIES  AND  QUAIL 

A  well-known  and  much  admired  print.  **7  0 

Good  impression.  Slightly  faded  and  toned. 

1057.  WILD  RICE  AND  DUCKS 

Late  impression;  good  condition.  0 


Fourth  Evening 


1058 


1003 


1058.  MAGNOLIA  AND  HORNBILL 

Very  fine  early  impression ,  in  good  though  not  quite  immaculate 
condition. 


1059.  NEDESHIKO  PINKS  AND  FUJIBAKAMA 


/o'0 


7s 


1060. 

rl  x 


1 


.0  1061. 


Very  rare. 

Not  a  very  early  impression.  Good  condition. 

CHRYSANTHEMUMS  AND  MEJIRO 

Late  impression.  Good  condition. 

MANDARIN  DUCKS  AND  SNOW=LADEN  LEAVES 

Late  impression.  A  hole  has  been  neatly  patched. 


1062. 


MANDARIN  DUCKS  AND 

SMALL  RED  CHRYSANTHEMUMS 

Dated  Ox  Year ,  1853.  Late  impression. 


0 


1063.  MANDARIN  DRAKE  ON  A  SNOWY  BANK 

Fine  impression.  Perfect  condition.  Fare. 


Fourth  Evening 


1064.  TERN,  GRASSES,  AND  FALLING  CHERRY  PETALS 

Late  impression.  Trimmed  at  the  left.  At  the  right  is  a  part 
of  another  design  printed  on  the  same  sheet. 


s'  • 


1065.  HYDRANGEA  AND  SWALLOW  ^ 

Late  impression.  Good  condition. 

\ 

1066.  YAMABUKI  AND  SPARROW 

Late  impression.  Good  condition. 

1061.  PEAR  BLOSSOMS  AND  TITMOUSE 

Late  impression.  Good  condition. 

1068.  CHERRY  BLOSSOMS  AND  BULLFINCH  /S, 

Late  impression.  Defective  spot  in  the  paper;  otherwise  good 
condition. 


1069.  A  PHEASANT 

On  a  projecting  cliff  beside  a  waterfall. 
Late  impression.  Good  condition. 


2*0 


1070.  IVY  AND  WHITE=HEADED  BIRD  3  £> 

A  notable  and  much  admired  design. 

Rather  late  impression.  In  fair  condition.  Several  holes  neatly 
patched. 

1071.  A  FALCON  AND  IVY=CLAD  PINE  BRANCH  °]  0 

Fine  impression.  In  good  condition. 


1072.  BOTAN  (TREE=PEONY)  AND  PEACOCK 

Late  impression.  Good  condition. 

1073.  TSUBAKI  (CAMELLIA)  AND  FINCH 

Late  impression.  Good  condition. 

1074.  KOBAI  (RED=FLOWERED  PLUM)  AND  NIGHTINGALE 

Late  impression ,  the  bird  printed  in  green. 

1075.  HIBISCUS  AND  GOLDEN  PHEASANT 

Dated  1853.  1  S 

Late  impression. 


Fourth  Evening 


n 


n 


1076.  PAROQUET  ON  A  PINE  BOUGH 

Late  impression.  Good  condition. 

NARROW  PANELS 
Size,  131/z  x  3  inches. 

1077.  NARCISSUS  AND  SPARROWS 

Late  impression.  Good  condition. 


1078.  CUCKOO,  MOON  AND  FALLING  CHERRY  PETALS 

Late  impression.  Good  condition. 

1079.  PEACH  BLOSSOMS  AND  YELLOW  BIRD 

Late  impression.  Good  condition. 


j  0  1080.  SNOW=LADEN  CAMELLIA,  AND  BIRD 

Good  impression. 


1081.  NARIHIRA  A2UMA  KUDARI 


“The  Eastern  Journey  of  the  poet  Narihira.”  The  famous 
Fuji  war  a  noble  is  supposed  to  be  “the  man”  whose  doings 
are  recounted  in  the  classic  romance  “Ise  Monogatari.” 
Hiroshige  depicts  him  mounted  on  a  white  horse  and  at¬ 
tended  by  a  white-robed  servant  and  a  youth  bearing1  his 
sword.  Fuji-san  which  the  poet  saw  and  admired  on  his 
eastern  journey,  fills  the  background. 

Kakemono-e.  Framed.  Signed :  Hiroshige  ga.  Publisher: 

Sano-ki.  About  1842. 

Good  impression.  Toned. 


1082.  A  FALCON  ON  SNOW=LADEN  PINE  TREE 

Kakemono-e.  Framed.  Signed:  Hiroshige  hitsu.  Seal:  Icliiryu- 
sai.  Publisher :  Sano-ki. 

Fine  impression.  In  good  condition. 


1083.  A  PEACOCK  ON  A  CLIFF 

WHERE  PEONIES  ARE  IN  BLOOM 


V 


Kakemono-e.  Framed.  Signed:  Hiroshige  hitsu. 
Exception  ally  fine  impression.  Perfect  condition. 

( Illustrated ) 


No.  10S3 — A  PEACOCK  ON  A  CLIFF 


Fourth  Evening 


1084.  THREE  OIRAN  IN  THE  VERANDA  OF  A  HOUSE 

IN  SHINAGAWA  OVERLOOKING  EDO  BAY 

Oban  triptych.  Signed:  Hiroshige  hitsu. 

Published  by  Daikoku-ya,  About  1835. 


1085.  RYOGOKU  BASHI  YURYO  ZEN  GU 


7-  ° 


Bird’s  Eye  View  of  Evening  Cooling  at  R}rogoku  Bridge. 
Oban  triptych.  Signed :  Ichiryusai  Hiroshige  hitsu. 

Published  by  Tsutaya  Kichizo. 


1086.  A  PICNIC  AT  GOTENYAMA 

Oban  triptych.  Signed  :  Hiroshige  ga.  Published  by  Fuji-kei, 

7-  O  Ahout  i842. 

Somewhat  toned,  and  has  a  few  moth  holes. 


1087.  OMI  HAKKEI  JEN  ZU 

Complete  View  of  the  Eight  Scenes  of  Omi.  Represents 
Murasaki  Shikibu  on  the  veranda  of  Ishiyama  temple  look¬ 
ing  out  over  Lake  Biwa  and  viewing  the  famous  scenes. 
Triptych.  Framed.  Signed:  Hiroshige  hitsu.  Seal:  Ryusai. 
In  fine  condition.  Very  rare. 


1088.  SOSHU:  ENOSHIMA  BENZA1TEN 

KAICHO  MODE  HONGU 


Opening  of  the  season  for  worship  at  the  Benten  shrine  on 
the  island  of  Enoshima. 

Triptych.  Framed,  Signed:  Hiroshige  ga.  Publisher:  Iwa- 
toya.  About  1843. 

In  fair  condition.  One  sheet  slightly  soiled. 


1089.  SOSHU:  ENOSHIMA  BENZAITEN  KAICHO 

SANKEI  GUNJU  NO  ZU 

Crowd  at  the  opening  of  the  season  at  the  Benzaiten 
shrine,  Enoshima. 

Oban  triptych.  Signed:  Ichiryusai  Hiroshige  ga.  Engraver: 
Take.  About  1843. 

In  fair  condition. 


1090.  THE  KISO  GORGE  IN  SNOW 

Kakemono-e.  Signed:  Hiroshige  hitsu.  Published  by  Sano-ki. 
Good  impression,  but  not  very  early.  In  fair  condition.  Framed. 


No.  1091— FAMOUS  SCENES  IN  KANAZAWA:  NIGHT  VIEW 


Fourth  Evening 


1091.  BUYO  KANAZAWA  HASSHO  YAKEI 

Night  View  of  the  eight  famous  scenes  in  Kanazawa. 

Obcm  triptych.  Framed.  Signed:  Hiroshige  hitsu.  Seal:  Ichi- 
ryusai.  Publisher:  Tsutaya  Kichizo.  Dated  seventh  month 
Snake  Year,  1845. 

Exceptionally  fine,  early  impression.  Perfect  condition. 

( Illustrated ) 


1092.  KISOJI  NO  SAN=CHU 

Mountains  and  streams  on  the  Iviso  highway. 

Hiroshige's  most  important  snow  scene. 

Oban  triptych.  Framed.  Signed :  Hiroshige  hitsu.  Publisher: 
Tsutaya  Kichizo.  Dated  eighth  month  Snake  Year,  1845. 
Fine  impression. 


1093.  AWA  NARUTO  FUKEI 

Distant  view  of  the  Naruto  whirlpool,  province  of  Awa. 
Oban  triptych.  Framed.  Signed :  Hiroshige  hitsu.  Publisher: 
Tsutaya  Kichizo.  Dated  fourth  month  Snake  Year,  1845. 

In  fair  condition. 


UTAGAWA  TEISHO 

(Worked  middle  of  nineteenth  century) 

1094.  NANI WA  TEMPOZAN  FUKEJ 

Panoramic  view  of  Tempo  hill  Osaka,  overlooking  the  har¬ 
bor.  Many  visitors  viewing-  the  blossoming  cherry  trees. 
Oban,  four-sheet  composition.  Signed:  Utagciwci  Teisho,  pupil 
of  Got otei  K-unisada.  Publisher :  Tenki.  About  1830. 

In  fair  condition.  Framed. 


Fourth  Evening 


UTAGAWA  KUNIYOSHI 

(B.  1797,  d.  1861) 

H YAKUNIN  ISSHU  NO  UCHI 

The  Hundred  Poems  Illustrated.  Six  prints  of  the  series  of 
one  hundred. 

Oban.  Signed:  Ichiyusai  Kuniyoslii  qa.  Publisher:  Ebine. 
About  1840. 


1095.  A  BUDDHIST  PRIEST  AND  A  WOMAN 

They  stand  under  yellow  umbrellas  in  a  shower.  Illustra¬ 
tion  of  the  poem  by  Jakuren  Hoshi. 

The  passing  shower  onward  sweeps — 

Not  yet  upon  the  yew-leaves  dried 
Its  scattered  drops,— and  lo  !  there  creeps 
The  rising  mist  up  yon  hill-side 
Of  autumn  e’en, 

At  twilight’s  chilly  hour  seen. 


1096.  ABE  NO  NAKAMARO  VIEWING  THE  MOON 

Sent  to  China  to  discover  the  secrets  of  the  calendar,  he 
was  feasted  by  the  Emperor  and  then  surrounded  by 
guards  and  left  to  starve.  Musing  upon  his  fate  and 
upon  his  home  in  the  province  of  Kasuga  that  he  was 
doomed  never  again  to  see,  he  wrote  this  poem  in  blood 
upon  his  sleeve : 

I  search  high  heaven 
And  now  above  Mikasa 
In  the  land  of  Kasuga 

I  know  the  moon  is  shining 
Yon  moon  I  now  see  rising, 

(In  a  far-off  land  now  rising). 


1097.  WARDERS  OF  THE  IMPERIAL  PALACE 

AT  THEIR  NIGHT  VIGIL 

Illustration  of  the  tanka  by  Yoshinobu  no  Ason.  For  an 
English  version  see  under  Lot  183. 

o 


Fourth  Evening 


II 


1098.  ODE 


BY  SANJI  TAKAMURA 

The  poet  sailing  away  to  exile  at  Yasoshima. 
English  version  of  the  ode  see  under  Lot  120. 


For  an 


1099.  ODE  BY  GON=CHU=NAGON  TADAYORI 

A  fisherman  setting  his  nets. 

By  the  dim  light  of  early  dawn 
I  I  stray’d  by  Uji’s  wave, 

From  whence  the  rifting  mist  upborne 
Me  scattered  glimpses  gave 
Of  Zeze’s  stakes  there  set 
Whereon  the  fisher  spreads  his  net. 


1100.  TWO  TRAVELLERS  AT  NIGHT 


Looking  at  a  tiny  waterfall  on  a  hillside.  A  part  of  a 
print  of  the  One  Hundred  Poems  series,  title,  poem,  and 
signature  trimmed  off. 


FIFTH  AND  LAST  EVENING  SESSION 


FRIDAY,  MAY  10,  1918 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  8.15  (/CLOCK 


HARUNOBU 

(B.  about  1730,  d.  1770) 

FURYU  SHIIvI  KASEN 

Social  Customs  of  the  Four  Seasons.  Three  prints  of  this  series 
of  thirteen,  one  for  each  month  of  1770,  the  year  of  Harunobu’s 
death. 


1101.  YAYOI :  THE  THIRD  MONTH 

Two  girls  on  a  walk  outside  an  enclosure  where  bamboos 
are  growing.  One  is  standing,  the  other  seated,  picking 
spring  flowers. 

Chuban.  Signed:  Harunobu  ga.  1770. 


1102.  SAMEDARE:  THE  FIFTH  MONTH 

Street  scene  on  a  showery  day.  A  woman  on  her  wav  to 
a  public  bath  house,  attended  by  a  maid  holding  an  um¬ 
brella  over  her,  greets  a  young  girl  just  opening  an 
umbrella,  whom  she  is  passing. 

Chuban.  Signed:  Suzuki  Harunobu  ga.  1770. 

Fine  impression.  In  very  nice  condition. 


/  o  6 


1.^0 


Fifth  and  Last  Evening 


1103.  KIKUZUKI:  THE  NINTH  MONTH 

A  young-  man  and  two  girls  at  Kasamori  shrine,  liberating 
caged  birds  and  watching  them  fly  away. 

j  7  0  Chuban,  Signed:  Harunobu  ga.  1770. 

Fine  impression.  In  good  condition. 


THE  MARRIAGE  CEREMONIES 

Complete  set  of  seven  lateral  chuban  prints.  Remarkably  fine 
impressions  in  beautiful  condition. 

Each  signed:  Harunobu  ga.  About  1767. 


yo£> 


1104.  MIAI 

The  First  Meeting.  Scene  at  a  tea-house,  the  prospective 
bridegroom  seated  beside  the  nakodo  (go-between),  watch- 
mg  the  ai  i  i\  al  of  the  bride-to-be,  escorted  bv  her  parents. 


1105.  YUINO 

The  exchange  of  presents  after  the  espousal.  The  bride’s 
father  receiving  the  gifts  by  the  bridegroom. 


1106.  YOMEI  IRI 

The  going-away  of  t lie  bride.  She  is  carried  in  a  kago 
'/  ^he  house  of  the  groom  attended  by  her  family  and 

friends.  Street  scene  at  night. 


1107.  KONREI 

■.  !\  The  marriage  ceremony. 

1108.  IRANAOSHI 

Unrobing  the  bride.  Women  removing  her  outer  garments 
and  hanging  them  on  a  clothes  rack. 


o 


1109.  TOKO  SAKAZUKI 

The  bed-t  ime  sake-cup. 


before  retiring  for 

O 


the  night. 


Husband  and  wife  drinking  sake 


1110.  FOOTBALL  PLAYER 

Hashira-e.  Signed:  Harunobu  ga.  About  1769. 
)  i  Q  Fine  impression.  In  very  good  condition. 

(Illustrated) 


Fifth  and  Last  Evening 


1111.  MASSAGE  AFTER  THE  BATH 

A  young  woman  in  a  gray  blue  yukata  seated  on  the 
engawa  of  a  house  having  her  back  massaged  by  a  maid. 
Late  edition,  signed  Harunohu  ga,  in  white  reserve  on  the 
engawa  at  the  right.  This  signature  does  not  appear  in  the 
earlier  editions,  hut  a  careful  comparison  with  an  impression 
from  the  first  edition  shows  that  both  prints  are  from  the 
same  block.  The  coloring,  however,  is  different  throughout . 
About  1766. 

1112.  UIZAN 

The  first  birth.  The  young  mother  propped  up  on  a  pile 
of  futon  and  being  given  something  to  drink ;  while  the 
midwife  bathes  the  infant  in  a  tub,  the  mother-in-law  looks 
on,  and  two  maids  wait  ready  to  give  help  when  needed. 

1113.  TWO  GIRLS  FORDING  THE  IDE  NO  TAMAGAWA 

Series:  Mu  Tamagawa. 

Hashira-e.  Signed:  Harunohu  ga.  About  1769. 

Late  impression.  Good  condition, 

1114.  AN  OIRAN 

Hashira-e.  Signed:  Suzuki  Harunohu  ga. 

Faded,  and  cut  down  at  both  head  and  foot. 


1115.  AN  ANIMATED  PICTURE 

A  painted  Daruma  in  a  kakemono  coming  to  life  and 
eagerly  looking  down  at  a  girl  seated  reading  a  love 


letter. 

Hashira-e.  Signed :  Suzuki  Harunohu  ga. 


About  1769. 


BUNGHO 

(Worked  c.  1768-1775) 

1116.  SCENE  FROM  A  DRAMA 

The  third  Otani  Hiroji  standing  holding  a  peony  in  his 
mouth;  Nakamura  Matsue  as  a  woman  seated,  holding 
a  ladle  of  sake. 

Hosoe.  Signed:  I ppitsusai  Buncho  ga.  About  1770. 

The  red  seals  are  those  of  the  late  Tadamasa  Hayaslii  of  Paris, 
and  of  Wakai,  an  old-time  Tokyo  dealer  and  collector. 

Superb  impression.  In  perfect  condition. 


Fifth  and  Last  Evening 


1117.  A  WAITRESS  OF  THE  MIN ATO=YA  TEA=HOUSE 

Hosoe.  Signed:  Ippitsusai  Buncho  ga.  About  1770. 
Late  impression.  In  good  condition. 


1118.  A  WAITRESS  OF  THE  SAKANYA  TEA=HOUSE 

Hosoe.  Signed:  Ippitsusai  Buncho  go.  About  1770.  7^ 


1119. 


THE  SECOND  ICHIKAWA  YAOZO 

as  a  samurai  standing  on  a  bank  of  a  river,  looking  down 
in  amazement  at  a  gigantic  frog. 

Hosoe.  Signed :  Ippitsusai  Buncho  ga. 

Fine  impression.  In  perfect  condition. 


1120.  ICHIKAWA  BENZO 

dancing  the  Harugoma  (horse-head)  Odori  in  a  shosa 
act.  In  1770  Benz5  became  the  second  Ichikawa  Monno- 
suke. 

Hosoe.  Signed:  Ippitsusai  Buncho  ga.  1769. 

Fine  impression.  Perfect  condition. 


1121.  MIMASUYA  SUKEJURO 

as  a  samurai  carrying  a  kakemono  on  a  small  stand. 
Hosoe.  Signed:  Ippitsusai  Buncho  ga.  About  1769. 


1122.  THE  THIRD  OTANI  HIROJI 

as  a  noodle  peddler,  standing  by  a  small  pine  tree  at  night. 

He  has  set  down  his  case  of  noodles  to  pick  up  a  small  child.  t~j 
Hosoe.  Signed:  Ippitsusai  Buncho  ga.  About  1770. 

Fine  impression.  In  good  condition. 

1123.  ONOE  KIKUGORO 

as  a  man  standing  with  folded  arms  by  a  hibachi  upon 
which  he  is  burning  papers. 

Hosoe.  Signed:  Ippitsusai  Buncho  ga. 

Fine  impression.  In  good  condition. 


1124. 


ONOE  MATSUSUKE 

as  a  man  in  fantastic  raiment  standing 
house  in  the  Yoshiwara  at  night. 

Hosoe.  Signed:  Ippitsusai  Buncho  ga. 


in  front  of  a 


Fifth  and  Last  Evening 


1125.  THE  FOURTH  IWAI  HANSHIRO  AS  OKARU 

Scene  from  the  seventh  act  of  Chushingura. 
Hosoe.  Signed:  Ippitsusai  B undid  ga.  About  1771. 
Superb  impression.  In  fine  condition. 

( Illustrated ) 

TORII  KIYONAGA 

(B.  1752,  d.  1813) 

1125 A.  TWO  TALL  WOMEN 

Hasliira-e.  Signed :  Kiyonaga  ga. 

Somewhat  soiled.  Framed. 


HIROSHIGE 


(B.  1797,  d.  1858) 

1126.  SAGAMI.  OYAMA  ROBEN  NO  TAKI 

The  Boben  Fall  (named  after  the  founder  of  Todaiji 
temple)  at  Oyama  province  of  Sagami.  One  of  the  Ivwanto 
Meisho  series,  “Famous  Sights  in  the  Kwanto,”  or  eight 
provinces  lying  east  of  the  Hakone  pass. 

Yoko-e.  Signed:  Hiroshige  ga. 


1*> 


S 


o 


1127.  YUMI  HARI  TSUKI 

“The  bow-shaped  moon”  seen  through  a  rocky  gorge 
spanned  by  a  rustic  bridge.  One  of  the  Tsuki  Ni-j u  Ivei 
no  Uchi  series,  or  Twenty-eight  Moon  Views,  of  which 
only  two  are  known  to  have  been  published. 

Wide  panel.  Signed :  Hiroshige  liitsu.  Seal :  Ichi-ryu-sai. 
Published  by  Jakurindo.  About  1835. 

Superb  impression  of  the  first  issue.  At  a  recent  sale  in 
Tokyo  an  impression  of  this  print  fetched  800  yen,  the  equiva¬ 
lent  of  $400. 

( Illustrated ) 

1128.  SHISHI  AND  CUB 

The  mother  lion  crouches  on  a  projecting  ledge  of  a  preci¬ 
pice  and  watches  the  cub  climb  up  from  below.  This  illus¬ 
trates  the  legend  that  young  lions  were  not  thought  fit 
to  survive  until  they  had  been  put  to  the  test  of  being 
thrown  from  a  precipice  and  had  climbed  back  up  its 
face  to  the  crest. 


Wide  panel.  Signed:  Hiroshige  hitsu. 
Superb  impression,  in  fine  condition.  Bare. 

( Illustrated ) 


1125 


1128 


1127 


Fifth  and  Last  Evening 


1128A.  KASUMI  GA  SEKI  JENZU 

Complete  view  of  the  Kasumi  Pass,  Edo. 
Oban  triptych.  Signed :  Hiroshige  ga. 

Very  rare.  Framed. 


IvACHO 

Wide  vertical  panels.  Size,  about  fifteen  by  six  and  three-quarter 
inches. 

1129.  HYDRANGEA  AND  KINGFISHER 

Fine  early  impression.  In  good  condition. 

1130.  TREE=PEONY  AND  PEACOCK 

Fine  impression.  Good  condition. 

1131.  PAROQUET  ON  A  PINE  BOUGH 

Late  but  excellent  impression.  Good  condition . 


1132.  A  CRANE  STANDING  ON  A  ROCK  AGAINST 

WHICH  SURF  IS  BREAKING 

Superb  early  impression  in  the  finest  condition  possible. 


Fifth  and  Last  Evening 


1133.  CAMELLIA  AND  SPARROWS  IN  FALLING  SNOW 

First  edition,  published  by  Fuji-hiko. 

Fine  early  impression.  Trimmed  about  an  inch  on  each  side. 

1134.  FALCON,  PINE  AND  SUN 

Late  impression.  Fair  condition. 


1135.  ON AK A=DORI  AND  UME 

A  long-tailed  bird  perched  on  a  plum  branch  preening  its 
feathers. 

Second  edition,  published  by  Sano-ki.  Differs  in  color  from 
the  first  edition  which  was  published  by  Fuji-hiko.  In  good 
condition. 


1136.  PEACH  BLOSSOMS  AND  SWALLOWS 

Very  late  impression.  In  poor  condition. 

1137.  SIBERIAN  IRIS  AND  WHITE  HERON 

Late  impression  in  unusual  coloring. 


1138.  DUCKS  AND  SNOW=LADEN  GRASSES 

A  well-known  and  much-admired  print. 

Published  by  Eijydo.  Has  the  Baku  or  “Fool”  seal.  * 
Fine  impression.  In  fair  condition. 


Three-on-a-block  vertical  prints. 

Size,  about  10  x  5  inches. 

1139.  PASSION  FLOWERS  AND  USO;  KIKYO  AND 

KINGFISHER;  AUTUMN  MAPLE  AND  HORNBILL 

Three  subjects  on  one  sheet  as  printed,  forming  an  un¬ 
severed  triptych. 

Rather  late  impression.  In  fair  condition. 

1140.  PASSION  FLOWERS  AND  USO 

Fine  early  impression  of  the  right-hand  subject  of  the  preceding 
lot.  Good  condition. 


s-o 


ll 


)  2. 


1141.  KIKYO  AND  KINGFISHER 

Late  and  poor  impression  of  the  middle  subject  of  lot  ATo.  1139. 


1 


so 


1142.  CHERRY  BLOSSOMS  AND  YELLOW  BIRD 

Late  impression.  Fair  condition. 


1 


0 


Fifth  and  Last  Evening 


1143.  ROSE  AND  SPARROW 

,  s  Fine  impression.  Good  condition. 

1144.  CAMELLIA  AND  BLUE=HEADED  BIRD 

b  Late  impression.  Good  condition. 


1145.  BAMBOO  AND  SPARROW 

Koban.  Signed :  Hiroshige  ga. 

Late  impression.  Good  condition. 

1140.  CAMELLIA  AND  BIRD 

_  Printed  in  two  tones  of  blue. 

1 1  n  .  1 

Early  impression.  Good  condition. 

1147.  BAMBOO  AND  SPARROW 

Small  print,  7^4  x  4^4  inches;  pink  ground. 

I  q  5  Signed :  Hiroshige  Jiitsu. 

Very  fine  impression.  Perfect  condition. 

1148.  PEONIES  AND  SWALLOWS 

Cliuban.  Signed :  Hiroshige  hitsu. 

^  Published  by  Marusei. 

dine  impression.  Condition  good ,  but  not  quite  immaculate. 

YOSHIKAZU 

(Worked  middle  nineteenth  century) 

1149.  BAMBOO  AND  SPARROWS 

Half -block  vertical  panel.  Signed:  Issen  Yosliikazu  ga.  Pub- 
%  y  Usher :  Arita-ya. 


CHINESE  PAINTINGS 

ARTIST  UNKNOWN 

1150.  “THE  EMPEROR  GENTOKU  ON  HORSEBACK” 

Not  signed. 

In  colors  on  paper,  mounted  as  a  kakemono. 


Fifth  and  Last  Evening 


LUI  SUNG-NIEN 

1151.  RUGGED  MOUNTAIN  SCENERY  WITH  FIGURES 

One  of  a  set  of  four.  Signed:  Lui  Sung-nien.  Ming  dynasty. 
In  colors  on  paper ,  mounted  as  a  Kakemono. 


LUI  SUNG-NIEN 

1152.  MOUNTAIN  SCENERY 

Another  of  the  same  set. 


LUI  SUNG-NIEN 

1153.  MOUNTAIN  SCENERY 

Third  picture  of  the  set. 


LUI  SUNG-NIEN 

1154.  MOUNTAIN  SCENERY 

Fourth  picture  of  the  set. 


JAPANESE  PAINTINGS 

ARTIST  UNKNOWN 

1155.  MONJU  BOSATSU  SEATED  ON  A  LION 

In  ink  and  colors  on  silk.  Mounted  as  a  kakemono. 


ARTIST  UNKNOWN 


1156.  PORTRAIT  OF  A  BUDDHIST  PRIEST 

In  colors  and  gold  on  paper.  Mounted  as  a  kakemono. 


ARTIST  UNKNOWN 

1157.  JIZO  BOSATSU  SEATED  IN  A  LOTUS 

Surrounded  by  four  Buddhas,  Kwannon,  and  nine  other 
Bodhisattva,  among  them  (in  the  foreground)  Fudo  and 
Kongo.  Probably  nineteenth  century. 

In  colors  and  gold  on  silk.  Mounted  as  a  kakemono. 


Fifth  and  Last  Evening 


ARTIST  UNKNOWN 

1158.  MANDALA 

Pictorial  cycle  of  Buddhist  deities.  Probably  nineteenth 
century. 

In  colors  and  gold  on  paper.  Mounted  as  a  kakemono. 


ARTIST  UNKNOWN 

1159.  BODHISATTVA,  PRIESTS,  JAPANESE  NOBLES,  A  MON¬ 
KEY  DRESSED  AS  A  NOBLE,  AND  LOTUS  BLOSSOMS 
IN  VASES  ON  A  STAND 

All  placed  in  a  room  in  a  palace;  the  engawa  in  the  fore¬ 
ground,  with  two  shishi  standing  guard  upon  it. 

In  colors  and  gold  upon  silk.  Mounted  as  a  kakemono. 


ARTIST  UNKNOWN 

1160.  PEACOCK  AND  PEONIES 

Signed  with  seals  only.  Attributed  to  Sanada  Jisei  Ikke. 
In  colors  and  gold  on  paper.  Mounted  as  a  kakemono. 


\> 


ARTIST  UNKNOWN 

1161.  CRANE  AND  PINE  BRANCH 

Kano  school. 

In  colors  on  paper ;  gold  ground.  One  panel  of  a  screen.  Now 
mounted  as  a  kakemono. 


KANO  TSUNENOBU 

1162.  DOVE  ON  A  BRANCH  OF  A  PEACH  TREE 


V? 


From  a  Chinese  painting. 

Signed :  T sunenobu  koreo  utsusu  (copied). 
In  colors  on  silk.  Framed. 


KANO  TANGEN 


1163.  CHINESE  BOYS  AT  PLAY 


Signed :  Kano  Tangen  fade.  Nineteenth  century. 

In  colors  on  paper;  gold  ground.  Mounted  as  a  small  six-fold 


screen. 


Fifth  and  Last  Evening 


ARTIST  UNKNOWN 

Kano  School 

1164.  CHINESE  SAGE  FEEDING  A  CRANE 

Fan  mount. 

In  colors  on  paper,  gold  ground.  Mounted  on  a  kiri  wood 
panel  with  chrysanthemum  decorations  in  gesso. 

NOBUYOSHI 

1165.  TEN=CHI=ZEN 

Three  figures  symbolizing  the  sky  (ten),  the  earth  (chi), 
and  human  beings  (zen). 

Signed:  Fujiwara  Sei  Nobuyoshi  Ryukyo  Zu. 

In  colors  on  silk.  Mounted  as  a  kakemono. 


ARTIST  UNKNOWN 

1166.  WHITE  HIBISCUS 

Attributed  to  Ogata  Korin.  Seal  only;  no  signature. 

In  ink  and  a  little  color  on  paper;  gold  ground.  Mounted  as 
a  kakemono. 


ARTIST  UNKNOWN 

1167.  THE  EASTERN  JOURNEY  OF  THE  POET  NARIHIRA 

Signed:  Tosa  no  Sakon  Mitsuoki  fade.  I 

In  colors  on  silk.  Mounted  as  a  kakemono. 


ARTIST  UNKNOWN 

1168.  SOTOBA  KOMACHI 

The  ninth  century  poetess  Ono  no  Komachi  in  her  old  age. 

Seal,  Gyo. 

In  colors  on  silk.  Mounted  as  a  kakemono. 


ARTIST  UNKNOWN 

1169.  FUJI  IN  THE  CLOUDS  ^  /j? 

Signed :  T sunenobu  fade. 

In  ink  on  silk.  Mounted  as  a  kakemono. 


Fifth  and  Last  Evening 


ARTIST  UNKNOWN 

1170.  CREATURES  OF  THE  WILD 

Many  different  animals. 

Carefully  painted  in  the  manner  of  Mori  Sosen.  Signed:  Sosen 
fude. 

In  colors  on  silk.  Mounted  as  a  makimono ,  and  enclosed  in  a 
box. 


KYUEI 

1171.  CHINESE  POETS 

in  the  garden  of  a  villa  in  the  mountains. 
Signed :  Jippu  Kyuei  Sei.  Seal,  Jusai. 

In  colors  on  silk.  Mounted  as  a  kakemono. 


ARTIST  UNKNOWN 

1172.  SOGA  NO  GORO  AND  KEHAIZAKA  NO  SHOSHO 

Signed:  Ritsuo,  aged  seventy-nine  years.  Dated  Kwampo  I, 
i.  e.,  1741. 

In  colors  and  gold  on  paper.  Mounted  as  a  kakemono. 


KOGA 

1173.  BON  DANCING 

Signed:  Koga.  Seals,  Koga  no  In  and  Kan-o. 

In  colors  on  paper.  Mounted  as  a  kakemono. 

ARTIST  UNKNOWN 

1174.  A  RICHLY  DRESSED  WOMAN 

Standing  figure. 

Not  signed.  Ukiyo-e.  Eighteenth  century. 

In  colors  on  paper.  Mounted  as  a  kakemono. 

ARTIST  UNKNOWN 

1175.  AN  OIRAN 

Standing  figure. 

Not  signed.  Ukiyo-e.  Eighteenth  century. 

In  colors  and  gold  on  silk.  Mounted  as  a  kakemono. 


Fifth  and  Last  Evening 


ARTIST  UNKNOWN 

1176.  A  PARTY  IN  THE  YOSHIWARA  IN  WINTER 

Ukiyo-e.  Style  of  Miyagawa  Cliosun.  Early  eighteenth  cen¬ 
tury.  Not  signed. 

In  colors  on  silk.  Framed. 


ARTIST  UNKNOWN 

1177.  WOMAN  IN  GARMENTS  OF  PALE  BLUE  BROCADE 

Not  signed.  Ukiyo-e.  Early  eighteenth  century.  S 

In  colors  on  paper.  Mounted  as  a  kakemono. 


ARTIST  UNKNOWN 

1178.  CUSTOMS  OF  THE  TWELVE  MONTHS 

1.  New  Year’s.  2.  Visiting1  a  Buddhist  temple.  3.  Watch¬ 
ing  a  cock-fight  in  the  street.  4.  A  picnic  in  spring, 
wistaria  in  bloom.  5.  Hata  nobori  the  boys’  festival,  fifth 
day  of  the  fifth  month.  6.  Children’s  matsuri  procession. 
7.  Bon  dancing.  8.  Picnic  by  a  river,  people  drinking  sake, 
others  fishing.  9.  A  moonlight  picnic  party.  10.  A  pic¬ 
nic  under  red-leaved  maple  trees.  11.  Burning  Tanabata 
decorations.  12.  The  susuhaki  or  house  cleaning  at  the 
end  of  the  year. 

Ukiyo-e.  About  Kyoho  period. 

In  colors  on  silk.  Mounted  in  an  album. 


ARTIST  UNKNOWN 

1179.  NOBLEMAN  IN  A  BOAT 

watching  an  awabi  shell  diver  emerge  from  the  sea  with 
a  huge  shell  under  her  arm. 

Not  signed.  Ukiyo-e. 

In  colors  on  paper.  Mounted  as  a  kakemono. 


ARTIST  UNKNOWN 

1180.  A  WOMAN  SEATED  BY  HER  BED 

writing  a  letter. 

Not  signed.  Ukiyo-e ,  about  1740. 

In  colors  on  paper.  Mounted  as  a  kakemono. 


Fifth  and  Last  Evening 


FUJI  WAR  A  SHO-UN 

1181.  DOMESTIC  AVOCATIONS 

Women  spinning  cotton  yarn  and  stretching  the  warp  for 
weaving. 

Signed :  Fujiwara  Sho-un  hitsu.  Ukiyo-e.  About  Kyoho  period. 
In  colors  on  paper.  Mounted  as  a  gaku. 


TANAKA  MASUNOBU 

1182.  A  KAMURO  DELIVERING  A  LETTER 

Signed :  Masunobu  ga.  Ukiyo-e.  About  1771. 
In  colors  on  silk.  Framed. 

KORYUSAI 

1183.  OIRAN  AND  KAMURO 

Signed :  Koryusai  ga.  Seal.  About  1780. 

In  colors  on  silk.  Mounted  as  a  kakemono. 

SHUNSHO 


1184.  SEVEN  WOMEN  IN  A  BAMBOO  GROVE 

Signed :  Katsu  Shunshd  ga. 

In  colors  on  paper.  Mounted  as  a  small  kakemono. 


ARTIST  UNKNOWN 

1185.  TALL  WOMAN  IN  A  GALE 


Reminiscent  of  a  well-known  pillar  print  by  Kiyonaga. 
This  painting  much  later  in  date.  Not  signed. 

In  colors  on  paper.  Mounted  as  a  kakemono . 


KUBO  SHUNMAN 

1186.  TWO  TALL  WOMEN  STANDING  IN  A  GARDEN 

Mostly  in  tones  of  gray. 

Signed:  Kubo  Shunman  ga.  About  1787. 

In  colors  on  silk.  Framed. 


KUBO  SHUNMAN 

1187.  KINUTA  NO  TAMAGAWA 

A  woman  seated,  fulling  cloth  by  beating,  while  her  com- 
/  panion  raises  her  hand  to  feel  the  first  drops  of  a  coming 

\  shower. 

Signed  :  Kenteibo  Kubo  Shunman  ga. 

In  colors  on  silk.  Framed. 


Fifth  and  Last  Evening 


KUNKYOSAI 

1188.  DANCING  GIRL 

Signed :  Kunkydsai  Shinichi.  Ukiyo-e. 

In  colors  on  'paper.  Mounted  as  a  kakemono. 

TOYOHARU 

1189.  YOUNG  WOMAN  IN  BLACK 

Standing  near  a  blossoming  plum  tree. 

Signed :  Toyoharu  hitsu.  Seal. 

In  colors  on  paper.  Mounted  as  a  kakemono. 

TOYOHARU 

1190.  THREE  WOMEN  ON  SEVEN=RI  BEACH 

Enoshima  in  the  distance. 

Signed:  Toyoharu  ga.  Circular  composition. 

In  colors  on  silk.  Cardboard  mount. 

ARTIST  UNKNOWN 

1191.  AN  ODE  COMPOSING  CONTEST  IN  THE 

PRESENCE  OF  THE  SHOGUN  ^ 

From  the  John  La  F urge  sale,  where  it  was  attributed  to 
Toyokuni.  Not  signed. 

In  colors  on  paper.  Cardboard  mounting. 

TOYOHIRO 

1192.  GEISHA  TUNING  A  SAMISEN 

Signed:  Ichiryusai  Toyohiro  ga.  Seal,  Utagawa. 

In  colors  on  silk.  Mounted  as  a  kakemono. 

UTAMARO 

1193.  YOUNG  WOMAN  HOLDING  AN  UMBRELLA  |  7 

IN  A  SHOWER 

Signed  with  seal  only.  Utamaro. 

In  colors  on  silk.  Mounted  as  a  kakemono. 

HOKUSAI 

1194.  TAMETOMO  IN  EXILE 

Signed:  Aged  SO,  Manji  hitsu.  Seal. 

In  colors  on  silk.  Mounted  as  a  kakemono. 


Fifth  and  Last  Evening 


HOKUSAI 

1195.  STROLLING  PLAYER  WEARING  A  TENGU  MASK 

Amusing  a  group  of  boys. 

Signed :  Aged  80,  Manji  hitsu.  Seal. 

In  colors  on  silk.  Mounted  as  a  kakemono. 

HOKUSAI 

1196.  DAIKOKU  AND  EBISU  AS  MANZAI 

Signed:  87  years,  Manji  hitsu.  Seal. 

In  colors  on  silk.  Mounted  as  a  kakemono. 

HOKUSAI 

1197.  A  MAN  SLEEPING 

His  eyes  are  shaded  by  a  book. 

Attributed  to  Hokusai.  Not  signed. 

In  colors  on  paper.  Framed. 

HOKIvEI 

1198.  PANORAMIC  LANDSCAPE 

Fifteen  sheets  for  mounting  as  a  makimono.  Attributed  to 
Hokkei.  Seal  only.  No  signature. 

In  colors  on  paper.  Enclosed  in  a  box. 

HOKKEI 

1199.  BENKEI  STANDING  ON  A  BENT=OVER  PINE  TREE 

Attributed  to  Hokkei.  Not  signed. 

In  colors  on  paper.  Cardboard  mount. 

HOKKEI 

1200.  KUAN  YU,  THE  CHINESE  GOD  OF  WAR 

Attributed  to  Hokkei.  Not  signed. 

In  colors  on  paper.  Cardboard  mount. 

HOKKEI 

1201.  THE  OLD  COUPLE  OF  TAKASAGO 

J5  and  Uba  greeting  the  morning  sun. 

Attributed  to  Hokkei.  Not  signed. 

In  colors  on  paper.  Cardboard  mount. 


Fifth  and  Last  Evening 


OYEI 

1202.  TWO  YOUNG  WOMEN 

One  of  them  holds  a  doll. 

Attributed  to  Hokusai’s  daughter  Oyei.  Seal  only.  No  sig¬ 
nature. 

In  colors  on  paper.  Mounted  as  a  kakemono. 

HIROSHIGE 

1203.  NARIHIRA  CROSSING  THE  SUMIDA  RIVER 

He  is  noting  the  miyako  dori  (oyster  catchers)  hovering 
over  and  swimming  in  the  stream. 

Signed :  Hiroshige  liitsu.  Seal,  Ryusai. 

In  colors  on  silk.  Mounted  as  a  kakemono. 

ARTIST  UNKNOWN 

1204.  WOMAN  WALKING  UNDER  AN  UMBRELLA 

Not  signed.  Ukiyo-e.  Late  nineteenth  century. 

In  colors  on  silk.  Not  mounted. 

ARTIST  UNKNOWN 

1205.  TWO  WOMEN  WALKING  IN  DEEP  SNOW 

Signed:  Hokusai  Taito  hitsu.  Ukiyo-e.  Late  nineteenth  cen¬ 
tury. 

In  colors  on  silk.  Not  mounted. 

ARTIST  UNKNOWN 

1206.  PANORAMA  OF  THE  SUMIDA  RIVER 

IN  THE  FOUR  SEASONS 

Ink  print  colored  by  hand.  Twelve  sheets  joined  end  to  end 
and  mounted  as  a  makimono. 


ARTIST  UNKNOWN 

1207.  A  FLOCK  OF  SPARROWS 

Not  signed. 

In  colors  on  silk.  Framed. 

MOKUBUTSU 

1208.  GOLDFISH  SWIMMING  AMONG  WATER  PLANTS 


Signed:  Mokubutsu. 

In  colors  on  European  paper. 


Framed. 


Fifth  and  Last  Evening 


ARTIST  UNKNOWN 

1209.  NADESHIKO  PINKS  AND  FIREFLIES 

Night  scene. 

Not  signed. 

In  colors  on  silk.  Framed. 

ARTIST  UNKNOWN 

1210.  AN  ALBUM  OF  MISCELLANEOUS  SKETCHES 

BY  A  MODERN  ARTIST 


Not  signed. 


Ten  paintings  by  Japanese  artists  of  about  twenty-two  years 
ago,  imported  by  the  J.  B.  Millet  Company  to  be  used  as  extra  illus¬ 
trations  for  the  de  luxe  edition  of  “Japan  Described  and  Illustrated 
by  the  Japanese.”  All  are  in  cardboard  mounts. 


SEIKA 


I  o 


1211.  GOLDFISH 

In  colors  on  silk. 


KONAN 


(V 


1212.  BAMBOO  AND  SWALLOWS 

In  colors  on  paper. 


IvEITEI 


1213.  TSUMUGI,  BEES  AND  MOON 


/  0  In  colors  on  paper. 


SOZAN 


-  1214.  GREEN  HERON 


CHIKUHO 


1215.  SWALLOWS  AND  FUJI 

In  water  color  and  lacquer  on  paper. 


RISSO 


S' 


1216.  COCKS  FIGHTING 

In  colors  on  silk. 


Fifth  and  Last  Evening 


1217.  LANDSCAPE 

In  lacquer  on  paper. 


1218.  PEONIES 

In  colors  on  silk. 


KAKO 


KAKO 


KAKO 

1219.  IRIS 

In  colors  on  paper. 

KOHo 

1220.  PINK  LOTUS 

In  colors  on  silk. 

IIDA 

1221.  LANDSCAPE  WITH  MILL 

Cut  velvet  picture. 


C 


s 


ARTIST  UNKNOWN 

1222.  (A)  HERONS  FLYING  OVER  A  LAKE 

(B)  FALCON,  SPARROWS,  AND  MAPLE  TREE 

Not  signed.  Modern. 

Lacquer  paintings  on  paper.  Mounted  as  kakemono. 


JAPANESE  PICTURE  BOOKS 

ARTIST  UNKNOWN 

1223.  ARTIST  UNKNOWN.  HYAKU  FUJI 

“One  Hundred  Views  of  Fuji.”  Pictures  in  black  and  white. 
3  volumes  complete.  Edo,  Meiwa  4  (1767). 

1224.  EISEN  (Keisai).  BUYU  SAKIGAKI  ZU=E 

“Pictures  of  Warriors.”  2  vols.  No  date.  Late  edition. 

1125.  HIROSHIGE.  FUJI  MI  HYAKUZU 

One  Hundred  Views  of  Fuji.  Yol.  1  only.  Edo.  1859. 

1226.  HOKUSAI.  GO=JU=NIN  ISSHU 

“Fifty  Comic  Odes  by  Fifty  Poets.”  Colored  portraits 
of  the  poets.  1  vol.  Edo,  Tsutaya  Juzaburo,  1802. 


Fifth  and  Last  Evening 


1227.  HOKUSAI.  DOCHU  GAFU 

“Drawings  on  t lie  Road,"  i.  e.,  the  TokaidS.  2  volumes. 
No  date,  but  probably  second  edition,  1835. 

1228.  HOKUSAI.  EHON  SUMIDAGAWA  RYOGOKU  ICHIRAN 

Bird’s-eye  view  of  the  scenery  on  both  banks  of  the  Su- 
mida  river.  3  vols.  Edo.  1806. 

1229.  HOKUSAI.  FUGAKU  HYAKKEI 

One  Hundred  Views  of  Fuji.  3  volumes.  Late  edition. 

1230.  HOKUSAI.  EHON  TEIKUN  ORAI 

A  medley  of  useful  information,  with  illustrations.  Very 
late  edition. 

1231.  HOKUSAI.  TOTO  SHOKEI  ICHIRAN 

A  synopsis  of  the  scenery  of  the  Eastern  Capital.  Illus¬ 
trations  in  color.  Edo,  1800.  2  vols.;  not  complete. 

1232.  HOKUSAI.  KANSEI  NENKAN  EDO  FUZOKU 

Edo  views  in  the  Ivansei  period.  Illustrations  in  color. 
1  vol.,  incomplete. 

1233.  HOKUSAI.  HOKUSAI  GAFU 

Miscellaneous  drawings  by  Hokusai.  Late  edition  but  fair 
impressions  of  the  prints.  1  ols.  1  and  3  only. 

1234.  HOKUSAI.  HOKUSAI  GAFU 

Another  copy  of  Vol.  3.  Same  edition. 

1235.  HOKUSAI.  EHON  TEIKUN  ORAI 

Incomplete  vol.  Thick  paper. 

1236.  HOKUSAI.  JORURI  JEKKU 

Attractive  subjects  for  Joruri  recitals;  copied  by  Hokutei 
Bokusen  from  the  original  book  by  Hokusai,  dated  Bunsei 
12  (1829). 

1237.  HOKUSAI.  SHOSHOKU  HINAGATA  HOKUSAI  ZUSHIKI 

Designs  for  Artizans.  Small  oblong  volume.  Re-engraved 
edition,  dated  Meiji  14  (1881). 


Fifth  and  Last  Evening 


1238.  HOKUSAI.  YUMI  HARI  ZUKI 

rile  Bow  Moon.  Novel  by  Bakin  with  illustrations  by 
Hokusai.  First  vol.  only.  Poor  condition. 

1239.  HOKUSAI.  HOKUSAI  MANGA 

Miscellaneous  sketches.  Complete  set  of  15  vols.  Re- 
engraved  edition,  published  in  Meiji  11  (1878).  Nagoya; 
Ivatano  Toshiro. 

1240.  HOKUSAI.  HOKUSAI  MANGA  /  L/ 

Vol.  5  from  the  original  blocks.  Late  edition. 

1241.  ICHIRO.  ICHIRO  GAFU 

Miscellaneous  Drawings.  Printed  in  color.  1  vol.  1823. 

1242.  KUNISADA.  HAYA  SUGAO  NATSUNO  FUJI 

“Actors  Seen  in  Summer  Time.”  Printed  in  color.  1  vol. 
Bunsei  10  (1827). 

1243.  MASANOBU  (Kitao).  “KYOKA  GO=j0=NIN  ISSHU” 

Fifty  comic  odes  by  fifty  poets.  With  portraits  of  the 
poets.  Printed  in  color.  Vol.  1  only.  Edo  1786. 

1244.  MITSUKATA  (Rikan).  KAIBUTSU  GAHON 

Pictures  of  Ghosts  and  Demons,  by  Rikan  Mitsukata, 
copied  by  Nabida  Gyoku-ei.  Printed  in  color.  1  Vol. 

Edo,  1883. 

1245.  MORIKUNI  (Tachibana).  EHON  OSHUKU=BAI 

Subjects  for  Painters.  5  vols.  only.  1739.  Also 

EHON  SHAHO  BUKURO 

1  vol.  only.  Osaka  1720,  reprinted  1770. 

1246.  SEKIEN  (Toriyama).  EJI  HI  KEN 

“Pictured  Things  Compared.”  Vols.  1  and  2  only.  Edo, 

Anei  6  (1777). 

1247.  SHIGENOBU  (Yanagawa).  YANAGAWA  GAFU 

Miscellaneous  Rough  Sketches.  1  Vol.  Printed  in  blue 
and  tan.  Late  impression  from  worn  blocks. 


Fifth  and  Last  Evening 


1248.  SHUNKO  (not  Katsukawa  Shunko).  MEIKO  SHOKEI 

“Little  Views  of  Famous  Places.”  Small  landscapes  in 
color.  6  vols.  Edo,  1847. 

1249.  SHUNMAN.  TITLE  LACKING 

Comic  odes  and  portraits  of  the  poets.  Incomplete  volume. 
Dated  1803. 

> 

1250.  SUKENOBU  (Nishikawa).  EHON  TESO  GUSA 

Domestic  Scenes.  Black  and  white  illustrations.  Late 
impressions  from  worn  blocks.  1  Vol.,  incomplete.  Ap¬ 
parently  a  reissue  in  Bunsei  12  (1829). 

> 

1251.  TOYOHIRO.  BANSHU  MAIKO  NO  HAMA 

The  story  of  a  vendetta  at  Maiko  beach.  Illustrations  in 
color.  2  vols.  complete,  clean  as  when  first  published  and 
in  original  colored  paper  wrapper.  Edo,  1804.  Late 
impressions. 

vl  c> 

1252.  UTAMARO.  EHON  MUSASHI  ERABI 

The  fifteen  double-page  color  prints  of  flowering  plants  and 
insects,  together  with  the  preface  by  Sekien,  the  imprint 
page  and  the  covers  to  Vol.  3,  mounted  on  cardboard  and 
enclosed  in  a  portfolio.  The  publication  of  the  volumes 
containing  these  prints  helped  to  make  Utamaro  famous. 
Edo,  Tsutaya  Juzaburo,  1788. 

Cjf  6 

1253.  UTAMARO.  SHIOHI  NO  TSUTO 

“On  the  Beach  at  Low  Tide.”  1  Vol.  containing  eight 
double-page  color  prints,  among  them  the  famous  pictures 
of  sea-shells  on  the  sands.  Fine  impressions  in  good  con¬ 
dition.  Edo,  Tsutaya  Juzaburo.  About  1788. 

1254.  UTAMARO.  EHON  KYO  GETSUBO 

1  Vol.  containing  five  double-page  color  prints.  Signed: 
Kitahawa  Utamaro  Toyoakira.  Edo,  1789. 

MO' 

1255.  UTAMARO.  GAHON  MOMO  CHIDORI 

“One  Hundred  Screamers.”  Another  famous  volume  con¬ 
taining  color  prints  of  birds.  2  vols.  complete.  Edo, 
Tsutaya  Juzaburo,  1793.  Good  copy.  Not  earliest 
printing,  but  in  nice  condition. 

Fifth  and  Fast  Evening 


1256.  YOSHISHIGE  (Pupil  of  Kuniyoshi) 

GO=JU=SAN  TSUGI  HACHI  =  YAMA  ZU=E 

Designs  for  bonsai,  i.  e.,  miniature  landscape  decorations. 

2  vols.  No  date. 

1257.  YOSHITORA.  CHUSHINGURA  GISHIDEN 

The  history  of  the  forty-seven  loyal  ronin — with  a  color- 
print  portrait  of  each  one  of  them.  1  Vol.  No  date.  Late 
edition. 

1258.  HOKUSAI.  SHAKA  ZU=E. 

Incomplete  volume  of  black  and  white  illustrations.  No 
date. 

1259.  ARTIST  UNKNOWN.  OGURA  HYAKUSHU 

“One  Hundred  Odes  by  Ogura,”  with  colored  illustrations. 

3  vols.  No  date.  (About  1800.) 

1260.  ARTIST  UNKNOWN.  HYAKU  FUJI 

“One  Hundred  Views  of  Fuji.”  Pictures  in  black  and 
white.  Vol.  4  only.  Osaka.  1785. 

1261.  ARTIST  UNKNOWN.  FUKUSHOKU  ZU  KAI 

Illustrations  of  Costumes  of  Court  Nobles.  2  Vols.  1816. 

1262.  ARTIST  UNKNOWN.  DAI  KYO  GO=AKU  ZU  KAI 

Pictures  of  Five  Crimes.  2  Vols.  1848. 

1263.  VARIOUS. 

Ten  vols.  of  Japanese  illustrated  books. 

1264.  MOKUHAN  UKIYOE  TAIKA  GASHU 

The  latest  Japanese  book  on  the  artists  of  the  Ukivoe 
school  with  reproductions  of  prints,  29  of  which  are  full- 
page  in  color.  Text  by  various  authors.  Folio.  Tokyo. 
S.  Watanabe,  1915. 

1265.  UKIYOE  HANGA  KESSAKU  SHU 

Five  chromo  xylographic  reproductions  of  prints  by  Suzuki 
Harunobu.  Enclosed  in  a  portfolio.  Published  by  S. 
Watanabe.  Tokyo,  1916. 


Fifth  and  Last  Evening 


1266.  UTAMARO  FUZOKU  GA 

An  album  containing  twelve  full-size  repi*oductions  of  color 
prints  of  lovers  by  Utamaro.  Recent  Tokyo  publication. 
No  imprint. 

1267.  ALBUM 

Containing  twelve  small  colored  reproductions  of  paint¬ 
ings  by  Japanese  artists.  Tokyo,  about  1900. 

1267 A.  HOKUSAI.  SEMMAN  GACHO 

Portfolio  containing  twelve  reproductions  of  paintings  on 
fan  mounts,  signed  Zen  Hokusai  Iitsu.  No  publisher 
named.  Modern. 

ADDENDA 

JAPANESE  PRINTS 

SUZUKI  IIARUNOBU 

1268.  SETTING  OFF  INCENSE  FIREWORKS 

Two  girls  in  thin  summer  garments,  on  a  platform  of  the 
Ise-ya  tea-house  built  over  the  water  of  a  river.  One  of 
them  has  lighted  a  row  of  sparklers  set  up  on  a  board 
floating  upon  the  stream.  Tied  to  the  corner  post  of  the 
tea-house  is  a  netting  bag  containing  melons  cooling  in 
the  water. 

Chub  an.  Signed :  Suzuki  Harunobu  ga. 

ISODA  KORYUSAI 

1269.  FAIR  VISITORS  AT  A  SHINTO  SHRINE 

Wakamatsu  of  Tawara-ya  accompanied  by  another  woman, 
visiting  a  Shinto  shrine. 

Hashira-e.  Not  signed.  About  1775. 

1270.  GIVING  A  LIGHT 

Young  lovers  standing  by  a  blossoming  plum  tree  hung 
with  poem  slips;  the  man  giving  the  girl  a  light  from  his 
pipe. 

Hashira-e.  Signed:  Koryusai  ga.  About  1776. 

Not  in  very  good  condition. 


Fifth  and  Last  Evening 


TOR  1 1  KIYONAGA 

1271.  OIRAN  AND  KAMURO 

A  tall  woman  looking  down  at  her  kamuro  who  is  seated 
at  her  feet  and  engaged  in  copying  a  letter. 

Hashira-e.  Signed:  Kiyonoga  ga.  About  1783. 


EISHOSAI  CHOIvI 

1272.  YOUNG  MAN  READING  A  LOVE  LETTER 

Parody  on  the  Ichiriki  tea-house  incident  from  Chushin- 
gura.  The  man  stands  on  a  veranda,  a  girl  hidden  beneath 
it  looks  up  to  read  the  letter  as  it  is  unrolled  and  drops 
down  to  her,  and  another  girl  seated  on  a  balcony  above 
reads  it  reflected  in  a  hand  mirror. 

Hashira-e.  Signed:  Choki.  About  1789. 

KATSUKAWA  SHUNCHO 

1273.  A  SUMMER  PICNIC 

A  party  of  women  at  a  picnic  in  a  piece  of  hilly  ground 
where  tall  bush  clover  is  in  bloom.  Some  are  gathered 
about  a  wooden  bench  covered  with  a  red  rug  upon  which 
others  are  seated  or  standing. 

Oban.  Middle  sheet  of  a  triptych.  Signed:  Shuncho  ga. 

In  poor  condition.  Faded  and  stained. 

1274.  PARTY  OF  WOMEN  IN  A  GREAT  HOUSE 

Oban.  Left-hand  sheet  of  a  triptych.  Signed:  Shuncho  ga. 
In  poor  condition.  Faded,  and  trimmed  at  foot. 


REKISENTEI  EIRI 

1275.  THREE  TALL  YOUNG  WOMEN 

On  their  way  to  a  Shintn  shrine  accompanied  by  a  girl 
carrying  a  mamori  bukuro,  i.  e.,  talisman.  All  are  dressed 
in  thin  summer  garments,  and  two  of  them  are  walking 
under  a  blue  umbrella. 

Oban.  Xot  signed.  Publisher :  Murata-ya  Jihei. 

Faded  and  otherwise  not  in  good  condition. 


Fifth  and  Last  Evening 


KITAGAWA  UTAMARO 

1276.  TWO  01  RAN 

Madoka  and  Akashi  of  the  house  called  Tama-ya.  A  cur¬ 
tain  with  the  name  of  the  house  upon  it  hangs  above 
their  heads. 

Hashira-e.  Signed :  Utamaro  Tiitsu. 


ANDO  HIROSHIGE 

1277.  BUNGO,  MINOSAKI 

\  iew  of  the  village  of  Minosaki  on  the  sea  coast,  province 
of  Bungo.  One  of  the  series  Roku-ju-yo  Shu  Meisho  Zu 
Kai. 

Oban.  Signed:  Hiroshige  hitsu.  Publisher:  Koshimura. 

1278.  SURUGA  SATTA  NO  KAIJO 

View  of  Fuji  from  the  seashore  at  Satta  Point,  a  great 
wave  curling  up  in  the  foreground  at  the  right.  Series, 
Thirty-six  Views  of  Fuji.  Dated  Horse  Year,  1858. 
Oban.  Signed:  Hiroshige  ga.  Publisher:  Tsuta-ya. 

1279.  URA=URA  DAI  RYO  NO  ZU 

Pictures  of  taking  a  great  catch  of  fish.  Scene  on  the  sea 
shore :  many  boats  full  of  fishermen  engaged  in  seining 
fish.  On  the  beach  in  the  foreground  and  at  the  right 
many  men  hauling  in  nets. 

Oban  triptych.  Signed:  Hiroshige  ga.  Publisher:  Tatchiko. 
Extremely  rare.  Not  in  very  good  condition. 


PAINTINGS 

YOKEI  KOREFUSA 

1280.  SHAKYAMUNI  ENTHRONED 

He  is  shown  seated  on  a  lotus  flower  asana,  which  rests 
upon  an  octagonal  pedestal. 

*  Signed:  Yokei  Korefusa  egaku.  Nineteenth  century. 

In  ink,  gold  and  a  little  color,  on  paper.  Mounted  as  a  kake¬ 
mono. 


Fifth  and  Last  Evening 


ARTIST  UNKNOWN 

1281.  FALCONS 

Set  of  three  paintings.  The  birds  are  shown  perched  upon 
a  pine  tree  and  upon  a  white  dowered  and  a  red  flowered 
tsubaki  (camellia).  Probably  seventeenth  century. 

Not  signed,  but  all  three  paintings  bear  impressions  of  a  seal 
reading  “ Fujiwara ”  which  appears  to  be  a  modern  addition. 

In  ink  and  colors  on  paper.  Mounted  as  a  set  of  three  hake- 
mono. 


1282.  JUROJIN 


TANJO 


Jurojin  is  one  of  the  so-called  Seven  Fortune  Gods.  He 
is  shown  attended  by  a  crane  and  a  hairy-tailed  tortoise 
and  he  stands  under  a  pine-tree. 

Signed:  Kano  zusho  hit  sue.  “ Picture  in  the  style  ( brush  idea) 
of  the  Kano  school .”  Tan  jo  copied. 

In  ink  and  colors  upon  paper.  Mounted  as  a  kakemono. 


ARTIST  UNKNOWN 

1283.  GOOSE  IN  FLIGHT 

Not  signed.  At  the  right  an  ode  is  inscribed  and  signed  Kyo- 
hushin. 

In  ink  and  a  few  touches  of  color,  on  silk.  Mounted  as  a  kake¬ 
mono. 

MOTONOBU 

1284.  A  SHOWER  IN  THE  MOUNTAINS 

Copied  by  Kawanabe  Kyosai  of  the  Ukiyoe  school,  nineteenth 
century.  Inscribed,  Kano  Yusei  Masanobu  choshi  ( eldest  son) 
Eisen  Motonobu,  Ko  Hogen  fude,  Kyosai  aratame. 

In  ink  on  paper. 


ARTIST  UNKNOWN 

1285.  HOTEI  AND  KARAKO 

The  karako,  i.  e.,  Chinese  child,  is  playing  about  Hotei’s 
bag  of  precious  things. 

Probably  a  copy  of  a  painting  by  Kano  Naonobu.  Not  signed, 
but  bears  the  impression  of  two  seals,  one  reading  Hokyo,  the 
other  Naonobu.  These  are  certainly  modern. 

In  ink  on  paper.  Mounted  as  a  kakemono. 


Fifth  and  Last  Evening 


KEISHU  FUJIHIROTO 

1286.  THE  STRATAGEM  OF  MASASHIGE 

Kusunoki  Masashige,  renowned  as  the  “Bayard  of  Japan,” 
was  the  commander-in-chief  of  the  army  of  the  Emperor 
Go  Daigo.  When  Ho  jo  Takatoki  deposed  and  exiled  Go 
Daigo  he  sent  an  army  under  the  command  of  Osaragi 
Sadanao  against  Masashige,  who  was  entrenched  in  a 
hastily  constructed  fort  at  Akasaka.  Being  blockaded  and 
in  straits  for  provisions  he  resorted  to  a  stratagem.  A 
wood-pile  was  built  and  upon  it  corpses  of  dead  enemies 
were  placed.  Then  Masashige  escaped  in  the  night  with 
his  men,  leaving  only  a  few  to  fire  the  pyre  and  spread 
false  news  that  he  had  committed  suicide.  In  this  picture 
the  artist  shows  Sadanao’s  men  attacking  the  fort.  And 
at  the  foot  Masashige  and  his  army  are  seen  marching 
away.  Painted  in  Tosa  style. 

Signed:  Keishu  Fujihiroto. 

In  colors  and  gold  on  silk.  Mounted  as  a  kakemono. 


KANO  MICHINOBU  (?) 

1287.  KUSUNOKI  MASATSURA  AT  YOSHINO 

The  celebrated  warrior,  son  of  Masashige,  is  shown 
mounted  upon  a  black  horse,  near  the  tomb  of  the  Emperor 
Go  Daigo,  upon  the  door  of  which  he  inscribed  a  poem 
with  the  point  of  an  arrow. 

Signed:  Hogen  Eisen  ga. 

In  colors  on  silk.  Mounted  as  a  kakemono. 


ARTIST  UNKNOWN 

1288.  WOMAN  WRITING  A  LOVE  POEM  ON  A  FAN 

In  the  manner  of  the  seventeenth  century  Ukiyoe  artists 
but  probably  painted  toward  the  middle  of  the  eighteenth 
century. 

Not  signed. 

In  colors  on  silk.  Mounted  as  a  kakemono. 


Fifth  and  Last  Evening 


ARTIST  UNKNOWN 


1289.  FUNA  ASOBI 

“Cooling  off  in  a  boat.”  A  woman  seated  in  a  boat  and 
holding  on  her  outstretched  hand  the  Chinese  character 
I,  which  signifies  mind  or  soul.  Over  this  a  basket  hat  is 
placed.  Buildings  are  shown  on  the  farther  bank  of  the 
river. 

Not  signed.  Ukiyoe.  Probably  about  1730. 

In  colors  on  silk.  Mounted  as  a  kakemono. 


ARIMASA 

1290.  A  FANTASY 

An  Uguisu  (Japan  bush  warbler  or  nightingale)  on  a 
pine  branch  tied  to  two  small  baskets  with  noshi  cords  to 
indicate  a  gift. 

Signed :  Arimasa  utsusu,  i.  e.,  copied,  a  phrase  which  is  used 
not  only  for  copies  of  other  pictures,  but  for  drawings  made 
from  the  objects  represented  and  not  merely  from  memory 
of  them. 

In  colors  on  silk.  Mounted  as  a  kakemono. 


KANRYO 

1291.  WHITE  HERONS,  CHRYSANTHEMUMS,  AND  WILD  RICE 

Signed:  Kanryo. 

In  colors  on  silk.  Mounted  as  a  kakemono. 


KUMAHIKO 

1292.  LEAPING  CARP 

Signed:  Kumahiko  seki-ga,  i.  e.,  painted  at  a  gathering  of 
artists  at  a  tea-house  where  each  in  turn  exhibits  his  skill  with 
the  brush  in  a  work  conceived  and  executed  in  the  shortest 
possible  length  of  time.  Nineteenth  century. 

In  ink  on  paper.  Mounted  as  a  kakemono. 


Fifth  and  Last  Evening 


TOKO 

1293.  CARP  AND  OMINAESHI 

Stalks  of  yellow  ominaeshi  projecting  across  a  stream  in 
which  a  number  of  large  carp  are  swimming. 

Not  signed.  Attributed  to  Toko,  an  artist  who  lived  in  Inaba 
in  the  latter  part  of  the  eighteenth  century  and  was  noted  for 
his  pictures  of  carp. 

In  ink  and  colors  on  paper.  Mounted  as  a  kakemono. 

OKYO 

1294.  ROBINS,  KINGFISHER,  AND  YOUNG  MAPLE  TREE 

Dated  Temmei  Hinoe  Uma  chu  shun,  i.  e.,  1786,  middle  of 
spring.  Signed:  Okyo ;  seal,  Okyo. 

In  colors  on  silk.  Mounted  as  a  kakemono. 

TANKO  MORIYOSHI 

1295.  NO  DANCER 

He  is  in  the  role  of  Okina,  i.  e.,  Old  Man,  and  stands  with 
arms  outstretched  showing  the  way  of  holding  the  fan. 
Signed:  Tanko  Moriyoshi  fude. 

In  colors  and  gold  on  silk.  Mounted  as  a  kakemono. 

CHUWA 

1296.  HARU  ARASHIYAMA 

“Arashima  in  Spring.”  Many  cherry  trees  in  full  bloom 
on  the  slope;  and  in  the  foreground  the  river  Katsura, 
here  called  the  Oigawa,  spanned  by  the  “Moon-viewing 
Bridge.” 

Signed:  Hokyo  Chuwa. 

In  colors  on  silk.  Mounted  as  a  kakemono. 

SHINGANIvEI 

1297.  BISH  AMON=TEN :  KWANNON:  DAIKOKU 

Set  of  three  small  Buddhist  paintings. 

Signed:  Shingankei.  Probably  early  nineteenth  century. 

In  colors  and  gold  on  silk.  Mounted  as  kakemono. 


THOMAS  E.  KIRBY, 


AMERICAN  ART  ASSOCIATION, 

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